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# IGNORE
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ARTIST: Joe Satriani
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GENRE: Rock, Art Rock, Blues Rock
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CONCEPTS: Target notes, pentatonic scales, melodic phrasing, ballad soloing
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@@ -1,4 +1,3 @@
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# IGNORE
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ARTIST: Joe Satriani
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GENRE: Rock, Art Rock, Blues Rock
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CONCEPTS: Pitch Axis
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Books/Music/Production/Jimmy Page Guitar World 1993.txt
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Books/Music/Production/Jimmy Page Guitar World 1993.txt
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TYPE: reference
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PRIORITY: medium
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TITLE: Jimmy Page interview with Guitar World May 1993
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DOMAIN: Technical Engineering
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CONCEPTS: Technical Insights
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SOURCE: Guitar World
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Okay Im ready says Jimmy Page clapping his hands together with a loud smack What are we going to talk about this time Zeppelin Again Oh gawd didnt we already do this he whines rolling his black eyes skyward Im getting a severe case of deja vu Well all right Get out your surgeons masks and thumb screws Im ready for dissection In the past a little of Pageys sarcasm would have sent the most hardened music journalist scurrying over the hills and far away But it is clear from his mock outrage that the god of guitar thunder is not really throwing lightning bolts he is merely teasing Despite his protest one gets the feeling that there is nothing in the world that he would rather discuss that his groundbreaking work with rocks most mythic outfit Led Zeppelin
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And there is much to talk about First and foremost are two new Led Zep box sets on Atlantic Records Led Zeppelin Boxed Set 2 and Led Zeppelin The Complete Studio Recordings In addition Led Zeppelin the fourCD cassette compilation that was first issued in the fall of 1990 is being made available once again Boxed Set 2 a twoCD retrospective contains the 31 tracks form the bands studio albums that were not included on the original fourdisc boxed set In addition the minibox includes Baby Come On Home a never before released song recorded during Zeps first studio sessions in October 1968
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The Complete Studio Recordings a 10CD boxed set is comprised of all nine Led Zeppelin studio albums each digitally remastered The set comes in a cubeshaped box and includes six hardcover full color booklets a 64page tome containing complete credits rare pictures and an essay and five booklets each housing two CDs and reproductions of all original album artwork
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Not long in to the interview however it becomes clear that Page has much more on his mind than blimps and boxes He is here to stake his claim as one of rocks most interesting and innovative producers the prime architect of Led Zeppelin
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And its about time Although no one would ever argue his status a guitar genius few ever mention Pages brilliant work in the recording studio as a producer arranger and engineer Unlike the Beatles and the Stones Led Zeppelin never relied on the outside guidance of a George Martin or Jimmy Miller Instead they followed the direction of their intrepid bandleader guitarist as he ruthlessly steered the band through one successful experiment after another
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As Page himself explains Many people think of me as just a riff guitarist but I think of myself in broader terms As a musician I think my greatest achievement has been to create unexpected melodies and harmonies within a rock and roll framework And as a producer I would like to be remembered as someone who was able to sustain a band of unquestionable individual talent and push it to the forefront during its working career I think I really captured the best of our output growth change and maturity on tape the multifaceted gem that is Led Zeppelin
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It can be argued that Page errs in his assessmenton the modest side
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For Jimmy Page the producer didnt simply record a great fourpiece band he created sweeping aural vistas Each song in Led Zeppelins catalog packs the
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wallop of a fullblown threedimensional fourstar rock and roll movie Page in the directors seat brought us intense Xrated features like the
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orgasmic Whole Lotta Love Disneyesque fantasies like the whimsical The Song Remains The Same and huge exotic 70mm epics like Kashmir and Stairway
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To Heaven
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No one in rock before or since has equalled Pages flair for the dramatic He made John Bonhams drums sound like volcanic eruptions and Robert Plants
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vocals reverberate as if they were sung from the top of Mount Olympus Even John Paul Joness nimble bass benefitted from Pages studio acumen as thanks
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to him it grooved with unprecedented clarity But above all Page was able to manipulate the sound of his own guitar so that it changed colors and hues like
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some bluesrock chameleon From the tortured scream of Since Ive Been Loving You to the mysterious and mellow acoustic ambience of Black Mountain Side
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Zeps dark lord of the Les Paul covered all the bases with uncanny style
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Page claims that the mighty Zeppelin was designed so its music would have shadow and light Screw that Zeppelin lived in nothing less than
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technicolor Pagey and company didnt invent heavy metal they turned it into an artform
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So here he is Dressed in black imperious meticulous and still unable to resist the siren call of a Les Paul which he picks up several times during the
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interview to demonstrate a point When asked about his technique Page states My guitar playing developed because I had that great unit to work with
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I dont really have a technique as such when you think of people with technique But I think its harder to come up with fresh ideas fresh
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approaches and a fresh vision
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Fresh ideas as anyone who reads the following transcript will no doubt agree are Jimmys stock in trade
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Guitar World Lets start by talking about the new CD boxes Boxed Set 2 and The Complete Studio Recordings
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Jimmy Page We approached Set 2 the same way we approached the fourCD set released before Engineer George Marino and I transferred the
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original analog tapes to a digital format then we used some modern EQs to make them sparkle Then we pieced the tracks together so
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that the box has a certain flow both aesthetically and technically
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I think the fun thing about Set 2 is the unreleased track from the Led Zeppelin I sessions Baby Come on Home Its kind of an R B
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thing and Plants singing is excellent Hes just flying on it
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GW Why didnt you put it on the first album
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Page I dont think we finished it the backing vocals werent very clever And at the time we thought everything else was better Simple as that
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really But dont get me wrong the track is good Its just that we set such a high standard for ourselves
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GW Were any of the tracks in bad shape
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Page Not really We were very fortunate in that area Ive heard horror stories about Eric Claptons early sessions that the tape was
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literally falling apart when they went to remaster them for his Crossroads boxed set
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The recordings them selves were also pretty clean except for the odd bit of distortion here and there The only real problem I can remember
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encountering was when we were putting the first boxed set together There was an awfully squeaky bass drum pedal on Since IUve Been Loving
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You It sounds louder and louder every time I hear it laughs That was something that was obviously sadly overlooked at the time
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GW I also notice that you can faintly hear Bonzo click his sticks together before some of the riffs in Black Dog
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Page Thats correct He did that to keep time and to signal the band We tried to eliminate most of them but muting was much more difficult in
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those days than it is now
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GW Since this is Boxed Set 2 I would like to think of this interview as the second part of the interview Guitar World conducted around the first boxed
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set GW Jan 1991 We want this to be The Jimmy Page Interview 2 if you will
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Page Lets go
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LED ZEPPELIN I
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US release January 12 1969
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Recorded at Olympic Studios London
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Guitars 1958 Telecaster 10string Fender 800 Pedal Steel
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Amps Supro
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GW Lets start from the beginning What did you want Led Zeppelin to be
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Page I had alot of ideas from my days with The Yardbirds The Yardbirds allowed me to improvise a lot in live performance and I started building
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a textbook of ideas that I eventually used in Zeppelin In addition to those ideas I wanted to add acoustic textures Ultimately I wanted
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Zeppelin to be a marriage of blues hard rock and acoustic music topped with heavy choruses a combination that had never been done before
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Lots of light and shade in the music Prime example of that is Babe Im Gonna Leave You
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GW How did Babe evolve
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Page This is a good time to clear something up that Ive really taken offence to Theres a book written by our former road manager Richard Cole
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Stairway to Heaven HarperCollins Publishers that has made me completely ill Im so mad about it that I cant even bring myself to
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read the whole thing The two bits that I have read are so ridiculously false that Im sure if I read the rest Id be able to sue Cole and the
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publishers But it would be so painful to read that it wouldnt be worth it
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The one false story has to do with Babe Im Gonna Leave You The book claims that when Robert came to my house to initially discuss the band
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I played him a recording of Joan Baez singing Babe and asked him Can you imagine us playing something like this The book claims that Robert
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picked up my guitar and started playing ME the arrangement that eventually appeared on the album Arrrghh Can you believe that
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First of all I had worked out the arrangement long before Robert came to my house and secondly Robert didnt even play the flippin guitar in
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those days Thirdly I didnt ask him if he could imagine playing that song I TOLD him that I wanted to do it And you can take that right to
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the horses mouth
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Thats just in the two pages that I read You can imagine how inaccurate the rest of the book must be Thats a definite punch on the nose Id
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love to know who his source of information was
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GW In addition to having such a strong direction musically you also had a unique approach to the business aspect of the band in the beginning By
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selfproducing the first album and tour werent you attempting to keep record company interference to a minimum and maximize the bands artistic
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control
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Page Thats true I wanted artistic control in a vise grip because I knew exactly what I wanted to do with these fellows In fact I financed and
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completely recorded the first album before going to Atlantic It wasnt your typical story where you get an advance to make an album we
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arrived at Atlantic with tapes in hand
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The other advantage to having such a clear vision of what I wanted the band to be was that it kept recording costs to a minimum We recorded the
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whole first album in a matter of 30 hours Thats the truth I know because I paid the bill laughs But it wasnt all that difficult because
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we were wellrehearsed having just finished a tour of Scandinavia and I knew exactly what I wanted to do in every respect I knew where all the
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guitars were going to go and how it was going to sound everything
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GW The stereo mixes on the first two albums are incredible and very innovative Was this planned ahead of time as well
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Page I wouldnt go that far But certainly after the overdubs were completed I had an idea of the stereo picture and where the echo returns would be
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For example on How Many More Times youll notice there are times where the guitar is on one side and the echo return is on the other
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Those things were my ideas
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I would say the only real problem we had with the first album was leakage from the vocals Roberts voice was extremely powerful and it
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would get on some of the other tracks But oddly the leakage sounds intentional I was very good at salvaging things that went wrong
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For example the rhythm track in the beginning of Celebration Day was completely wiped by an engineer I forget what we were recording but I
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was listening through the headphones and nothing was coming through I started yelling What the hell is going on Then I noticed that the
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red recording light was on what used to be the drums The engineer had accidentaly recorded over Bonzo And that is why you have that synthesizer
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drone from the end of Friends going into Celebration Day until the rhythm track catches up We put that on to compensate for the missing
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drum track Thats called salvaging laughs
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GW What was the first song you recorded together
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Page I dont remember really I could find out for you but not for another couple of years Ive seen enough of those old tapes for a while
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laughs
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GW Good Times Bad Times kicks off Led Zeppelin I and Boxed Set 2 What do you remember about that particular track
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Page The most stunning thing about the track of course is Bonzos amazing kick drum Its superhuman when you realize he was not playing with
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double kick Thats one kick drum Thats when people started understanding what he was all about
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GW What did you use to overdrive the Leslie on the solo
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Page thinks hard You know I dont remember what I used on Good Times Bad Times but curiously I do remember using the board to overdrive a
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Leslie cabinet for the main riff in How Many More TimesIt doesnt sound like a Leslie because I wasnt employing the rotating speakers
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Surprisingly that sound has real weight The guitar is going through the board then through an amp which was driving the Leslie cabinet It was a
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very successful experiment
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But for most of the recorded I was using a Supro amp a wahwah and a distortion unit called a Tonebender which was one of Roger Mayers
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creations
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GW How did you develop the backwards echo at the end of You Shook Me
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Page Didnt I tell you about that before No Well I should because its important it proves that I pioneered that effect When I was still in
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The Yardbirds our producer Mickie Most would always try to get us to record all these horrible songs He would say Oh cmon just try it
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If the song is bad we wont release it And of course it would always get released laughs During one session we were recording Ten Little
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Indians which was an extremely silly song that featured a truly awful brass arrangement In fact the whole track sounded terrible In a
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desperate attempt to salvage it I hit upon an idea I said Look turn the tape over and employ the echo for the brass on a spare track Then
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turn it back over and well get the echo preceding the signal The result was very interesting it made the track sound like it was going
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backwards
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Later when we recorded You Shook Me I told the engineer Glyn Johns that I wanted to use backwards echo on the end He said Jimmy it cant
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be done I said Yes it can Ive already done it Then he began arguing so I said Look Im the producer Im going to tell you what to
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do and just do it So he grudgingly did everything I told him to and when we were finished he started refusing to push the fader up so I could
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hear the result Finally I had to scream Push the bloody fader up And low and behold the effect worked perfectly When Glyn heard the
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result he looked bloody ill He just couldnt accept that someone knew something that he didnt know especially a musician The pompous git
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The funny thing is Glyn did the next Stones album and what was on it Backwards echo And Im sure he took full credit for the effect
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GW When people talk about early Zeppelin they tend to focus on the bands heavier aspects But your secret weapon was your ability to write great
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hooks Good Times Bad Times has a classic pop hook Did playing sessions in your preYardbirds days hone your ability to write memorable parts
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Page My session work was invaluable At one point I was playing at least three sessions a day six days a week And I rarely ever knew in advance what I
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was going to be playing But I learned things even on my worst Sessions and believe me I played on some horrendous things I finally called
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it quits after I started getting calls to do Muzak I decided I couldnt live that life anymore It was getting too sill I guess it was destiny
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that a week after I quit doing sessions Paul SamwellSmith left The Yardbirds and I was able to take his place But being a session musician
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was good fun in the beginning the studio discipline was great Theyd just count the song off and you couldnt make any mistakes
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GW Did your blues purist friends ever rag on you for playing jingles
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Page I never told them what I was doing Ive got a lot of skeletons in my closet Ill tell ya laughs
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GW Were you ever a blues purist like Eric Clapton
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Page The blues appealed to me but so did rock The early rockabilly guitarists like Cliff Gallup and Scotty Moore were just as important to
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me as the blues guitarists
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GW How did How Many More Times evolve
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Page That has the kitchen sink on it doesnt it It was made up of little pieces I developed when I was with the Yardbirds as were other numbers
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such as Dazed And Confused It was played live in the studio with cues and nods
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GW John Bonham received songwriting credit for How Many More Times What was his role
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|
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Page I initiated most of the changes and riffs but if something was derived from the blues I tried to split the credit between band members ED
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Note Robert Plant did not receive any songwriting credits on Led Zeppelin I as he was still under contract to CBS And that was fair
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especially if any of the fellows had input on the arrangement But of course you never get any thanks afterwards and that comment by the
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way is not directed towards John Bonham
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GW You also used the bow on that track
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Page Yes like I said we used the kitchen sink I think I did some good things with the bow on that track but I really got much better with it
|
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later on For example I think there is some really serious bow playing on the live album I think some of the melodic lines are pretty
|
||||
incredible I remember being really surprised with it when I heard it play back I thought Boy that really was an innovation that meant
|
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something Curiously enough sometime after I had been using the bow I was listening to a classical station and heard this chap playing a gut
|
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strung guitar with a bow and it was absolutely abysmal I thought Im really on to something I know what Im doing This classical guy really
|
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was pathetic I almost wish I had a copy of it to play for you because it was really awful He wasnt doing anything at all
|
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|
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GW Your bow playing especially on Dazed and Confused is really enhanced by echo What did you use
|
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|
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Page It was actually reverb We used those old EMT plate reverbs
|
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|
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GW Thats a little surprising because there are some areas on the record that sound like youre using tape echo In fact Led Zeppelin I was the first
|
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album that I can think of that employed such long echoes and delays
|
||||
|
||||
Page Its a little difficult to remember and I cant tell you on exactly which tracks but there was alot of EMT plate reverb put on to tape and
|
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then delayed machine delayed You were only given so much time on those old spring reverbs
|
||||
|
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GW How did Atlantic react when you delivered the tape
|
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|
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Page They were very keen to get me I had already worked with one of their producers and visited their offices in America back in 1964 when I met
|
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Atlantic Executives Jerry Wexler and Leiber and Stoller and so on And they were aware of my work with the Yardbirds because they were
|
||||
pretty hip people so they were very interested And I made it very clear to them that I wanted to be on Atlantic rather than their rock label
|
||||
Atco which had bands like Sonny and Cher and Cream I didnt want to be lumped in with those people I wanted to be associated with something
|
||||
more classic
|
||||
|
||||
But to get back to your question AtlanticUs reaction was very positive I mean they signed us didnt they And by the time they got the
|
||||
second album they were ecstatic
|
||||
|
||||
LED ZEPPELIN II
|
||||
US release October 22 1969
|
||||
Recorded at Olympic Studios London
|
||||
AR Studios New York Juggy Sound Studios
|
||||
NY Mayfair Studios NY Mystic Studios LA
|
||||
Mirror Sound LA and Ra hut in Vancouver British
|
||||
Columbia
|
||||
Guitars 1959 Les Paul Vox 12string
|
||||
Amps 100watt Marshall Vox Solid State
|
||||
|
||||
GW Led Zeppelin I and II are extraordinarily three dimensional What role did your engineers play
|
||||
|
||||
Page Glyn Johns was the engineer on the first album and as I mentioned earlier he had a bit of an attitude problem Ill tell you what he did
|
||||
He tried to hustle in on a producers credit I said No way I put this band together I brought them in and directed the whole recording
|
||||
process I go my own guitar sound Ill tell you you havent got a hope in hell And then we wend to Eddie Kramer for the second album and
|
||||
Andy Johns after that I consciously kept changing engineers because I didnt want people to think that they were responsible for our sound I
|
||||
wanted people to know it was me
|
||||
|
||||
GW Did Eddie Kramer have an impact on Led Zep II
|
||||
|
||||
Page Yes I would say he did but dont ask me what laughs Its hard to remember Wait heres a good example I told him exactly what I wanted
|
||||
to achieve and in the middle of Whole Lotta Love and he absolutely help me to get it We already had a lot of the sounds on tape including
|
||||
a theramin and slide with backwards echo but his knowledge of lowfrequency oscillation helped complete the effect If he hadnt known how
|
||||
to do that I would have had to try for something else So in that sense he was very helpful
|
||||
|
||||
Eddie was always very very good I got along well with him and I must say when I went through all the old recordings for the boxed sets all
|
||||
of his work help up very well very well Excellent
|
||||
|
||||
GW What do you think your biggest accomplishment as a producerengineer was
|
||||
|
||||
Page The one major thing I contributed was milking the drums in an ambient way nobody was doing that When I was playing sessions I noticed that
|
||||
the engineers would always place the bass drum mic right next to the head The drummers would then play like crazy but it would always sound
|
||||
like they were playing on cardboard boxes I discovered that if you move the mic away from the drums the sound would have room to breathe hence
|
||||
a bigger drum sound I kept exploring and expanding that approach to the point that we were actually placing mics in hallways which is how we got
|
||||
the sound on When The Levee Breaks That was purely in the search for ambience and getting the best out of the drums So it was always better
|
||||
for me to find an engineer who knew exactly what I was talking about After a while I didnt have to argue because they KNEW that I knew what
|
||||
I was talking about
|
||||
|
||||
GW Speaking of Eddie Kramer who worked closely with Jimi Hendrix Did you ever jam with Hendrix
|
||||
|
||||
Page No And I never saw him play either This is a good story actually back in the late sixties I went right from working with The Yardbirds
|
||||
to touring and recording with Zeppelin and that kept me very busy In the first two years of any band you just work solidly if youre going
|
||||
to make an impression thats what you have to do We were no different In fact we probably worked for three years straight Anyway every time
|
||||
I came back from tour and Hendrix was playing somewhere I would always say to my self Oh Im just so exhausted ill see him next time
|
||||
|
||||
I just put it off and of course there ultimately never was a next time Im really really upset with myself for never seeing him I really
|
||||
wanted to hear him
|
||||
|
||||
Now did I ever meet him I did actually go into a club in New York called Salvation and he was there but he was totally out of it He
|
||||
didnt really know who anybody was he was barely conscious Somebody was just kind of holding him up It is just kind of a shame that I never
|
||||
really had a chance to talk with him or hear him I heard his records naturally but it wouldve been a thrill to see how he worked things out
|
||||
on stage Thats quite another ballgame as you know
|
||||
|
||||
GW As a producer what did you think of his records
|
||||
|
||||
Page I thought they were excellent Oh yeah Jimis drummer Mitch Mitchell was also a man inspired He never played drums like that before or
|
||||
since He played some incredible stuff
|
||||
|
||||
GW Although your playing styles were different you and Jimi wee similar in that you both tried to achieve these great aural landscapes
|
||||
|
||||
Page Well there were a lot of people going in that direction Look at the Beatles Here was a band that went from Please Mr Postman to I am the
|
||||
Walrus in a few short years
|
||||
|
||||
GW Why do you think recording has gotten so bland these days
|
||||
|
||||
Page Well you had no drum machines in those days You had to play everything so there were all these natural crescendos and great ambient sounds
|
||||
to work with We wouldve probably done more experimentation with panning and echo on the CoverdalePage album but it got too complicated because
|
||||
we were always working with 72 channels of sound It got very difficult to do any positioning But you are right things like panning and extreme
|
||||
positioning make for a very exciting listening experience One of my favorite mixes is at the end of When The Levee Breaks when everything
|
||||
starts moving around except for the voice which stays stationary Ill tell you a funny story about that song Andy Johns did that mix with me
|
||||
and after we finished it Glyn Andys older brother walked in We were really excited and told him Youve got to listen to this Glyn listened
|
||||
and just said Hmmph Youll never be able to cut it It will never work And he walked out Wrong again Glyn He must have been seething
|
||||
with envy
|
||||
|
||||
The other thing I like about Levee is that something new is added to every verse Check it out the phrasing of the voice changes lots of
|
||||
backwards stuff is added
|
||||
|
||||
GW The first album was slammed by Rolling Stone magazine which was very influential at the time Did that affect your approach on the second album
|
||||
|
||||
Page Not at all We knew what we had and we kept improving all the time Also we were playing all the music live and people were responding to
|
||||
what we were doing That is the ultimate test It did not really start bothering me until after the third album After all we had accomplished
|
||||
the press was still calling us a hype So that is why the fourth album was untitled It was a meaningless protest really but we wanted to prove
|
||||
that people were not buying us for the name
|
||||
|
||||
GW When you were borrowing from classic blues songs on the first two albums did you ever think it would catch up to you
|
||||
|
||||
Page You mean getting sued Well as far as my end of it goes I always tried to bring some thing fresh to anything that I used I always made sure to
|
||||
come up with some variation In fact I think in most cases you would never know what the original source could be Maybe not in every case
|
||||
but in most cases So most of the comparisons rest on the lyrics And Robert was supposed to change the lyrics and he didnt always do that
|
||||
which is what brought on most of the grief They couldnt get us on the guitar parts of the music but they nailed us on the lyrics
|
||||
|
||||
We did however take some liberties I must say laughs But never mind we did try to do the right thing it blew up in our faces When
|
||||
we were up at Headley Grange recording Physical Graffiti Ian Stewart came by and we started to jam The jam turned into Boogie With Stu which
|
||||
was obviously a variation on Ooh My Head by the late Ritchie Valens which itself was actually a variation of Little Richards Ooh My Soul
|
||||
What we tried to do was give Ritchies mother credit because we heard she never received any royalties from any of her sons hits and Robert
|
||||
did lean on that lyric a bit So what happens They tried to sue us for all of the song We had to say bugger off We could not believe it So
|
||||
anyway if there is any plagiarism just blame Robert laughs
|
||||
|
||||
But seriously blues men borrowed from each other constantly and it is the same with jazz It is even happened to us As a musician I am only
|
||||
the product of my influences The fact that I listened to so many various styles of music has a lot to do with the way I play Which I think set
|
||||
me apart from so many other guitarists of that time the fact that I was listening to fold classical and indian music in addition to the
|
||||
blues and rock
|
||||
|
||||
GW You have often spoken about your folk and rockabilly influences in the past but what were some of your favorite blues records and guitarists
|
||||
|
||||
Page I had lots of favorites Otis Rush was important So Many Roads sent shivers up my spine There were a number of albums that everybody got
|
||||
tuned into in the early days There was one in particular called I think American Folk Festival of The Blues which featured Buddy Guy
|
||||
he just astounded everybody Then of course there was BB King Live at the Regal The first time I heard any of these people Freddie
|
||||
King Elmore James it just knocked one flat
|
||||
|
||||
Now that I have said all of that I am missing one important person Hubert Sumlin I LOVED Hubert Sumlin And what a compliment he was to
|
||||
Howlin Wolfs voice He always played the right thing at the right time Perfect
|
||||
|
||||
GW What was the impetus for the unaccompanied solo in the middle of Heartbreaker
|
||||
|
||||
Page I just fancied doing it I was always trying to do something different or something that no one else had thought of But the interesting thing
|
||||
about that solo is that it was recorded after we had already finished Heartbreaker it was an afterthought That whole section was recorded
|
||||
in a different studio and was sort of slotted in the middle If you notice the whole sound of the guitar is different
|
||||
|
||||
GW I have actually noticed that the tuning of the guitar was slightly higher
|
||||
|
||||
Page The pitch was off as well I did not know that laughs
|
||||
|
||||
GW Was the solo composed
|
||||
|
||||
Page No it was made up on the spot I think that was one of the first things I played through a Marshall Bring it On Home was played through a
|
||||
Marshall as well
|
||||
|
||||
GW What led you to use Marshall amps
|
||||
|
||||
Page At that time it was state of the art reliability They were really good for going out on the road I was always having trouble with amps fuses
|
||||
blowing or whatever By that time I was using a Les Paul anyway and that was just a classic setup
|
||||
|
||||
LED ZEPPELIN III
|
||||
US RELEASE OCTOBER 5 1970
|
||||
RECORDED AT ROLLING STONES MOBILE STUDIO AT HEADLEY GRANGE
|
||||
HAMPSHIRE ISLAND STUDIOS LONDON OLYMPIC STUDIOS
|
||||
GUITARS HARMONY ACOUSTIC MARTIN ACOUSTIC 1959 LES PAUL
|
||||
AMP 100WATT MARSHALL
|
||||
|
||||
GW Led Zeppelin III is famous for its acoustic instrumentation but it is also broadening the bands sonic palette the East Indian scales on
|
||||
Friends American country music on Tangerine traditional English folk on Gallows Pole and so on Did that eclecticism reflect what you were
|
||||
listening to on the road
|
||||
|
||||
Page No As I was saying earlier I used to listen to a broad variety of music and I suppose thats how it came out
|
||||
|
||||
GW Had you reached a dead end with the bluesbased material found on the first two albums
|
||||
|
||||
Page No We always had some blues on our albums Playing the blues is actually the most challenging thing you can do It is very hard to play something
|
||||
original Since Ive Been Loving You is a prime example That was the only song on the third album that we had played live prior to our
|
||||
sessions yet it was the hardest to record We had several tries at that one The final version is a live take with John Paul Jones playing organ
|
||||
and foot bass pedals at the same time
|
||||
|
||||
GW I would not even call Since IUve Been Loving You a typical blues
|
||||
|
||||
Page Well it all depends on how you define the blues Everybody immediately locks into 12 bars but I do not think it has to have 12 bars to have
|
||||
that emotive quality The blues can be anything
|
||||
|
||||
GW Celebration Day is a very unusual track How was that created
|
||||
|
||||
Page Theres about three or four riffs going down on that one isnt there Half was done with a guitar in standard tuning and the other half was
|
||||
done on slide guitar tuned to an open A I think We put that together at Headley Grange Because we rented the Rolling Stones mobile recording
|
||||
studio we could relax and take our time and develop the songs in rehearsals We didnt have to worry about wasting studio time I do not
|
||||
remember too much about that song other than that and what I told you earlier about the opening being erased I used to play the whole thing
|
||||
live on my electric 12string
|
||||
|
||||
GW I heard that Out On The Tiles was inspired by a drinking song that John Bonham used to sing
|
||||
|
||||
Page Yeah John Bonham used to do a lot of sort of rap stuff He would just get drunk and start singing things like what you hear in the beginning of
|
||||
The Ocean He would stomp his feet and his fingers would get going I think he originally had some lyrics about drinking pints of bitter you
|
||||
know Now Im feeling better because Im out on the tiles
|
||||
|
||||
GW How else did Bonzo influence the band
|
||||
|
||||
Page Besides being one of the best drummers I have ever heard he was also one of the loudest He was the reason we had to start buying bigger amps
|
||||
When we recorded Levee we just used a pair of stereo mics in a hallway at Headley Grange We could have used a separate microphone to mic the
|
||||
bass drum but we did not need to his kick sound was that powerful And his playing was not in his arms it was all in his wrist action
|
||||
Frightening I still do not know how he managed to get so much level out of a kit And up until the last album he always used both skins on his
|
||||
bass drum
|
||||
|
||||
GW How did the indian influences come into the band
|
||||
|
||||
Page I went to India after I came back from a tour with the Yardbirds I could not convince anyone else to come with me they all wanted to go to San
|
||||
Francisco I had been listening to that music for quite a while and wanted to hear it first hand
|
||||
|
||||
GW So the indian music was your influence
|
||||
|
||||
Page Lets put this way I had a sitar before George Harrison I wouldnt say I played it as well as he did though I think George used it well
|
||||
Within You and Without is extremely tasteful He spent a lot of time studying with Ravi Shankar and it showed
|
||||
|
||||
I actually went to see a Ravi Shankar concert one time and to show you how far back this was there were no young people in the audience at all
|
||||
just a lot of older people from the Indian embassy This girl I knew was a friend of his and she took me to see him after the concert she
|
||||
introduced him to me and I explained that I had a sitar but did not know how to tune it He was very nice to me and wrote down the tunings
|
||||
on a piece of paper
|
||||
|
||||
LED ZEPPELIN IV
|
||||
US RELEASE NOVEMBER 8 1971
|
||||
RECORDED AT ISLAND STUDIOS LONDON
|
||||
ROLLING STONES MOBILE UNIT HEADLEY GRANGE SUNSET SOUND LA
|
||||
OLYMPIC STUDIOSLONDON
|
||||
GUITARS FENDER ELECTRIC 12STRING LES PAUL TELECASTER
|
||||
AMP 100WATT MARSHALL
|
||||
|
||||
GW Instead of talking about the music on IV which has been dissected in detail in at least two issues of Guitar World we thought we would discuss
|
||||
the album jacket are with you
|
||||
|
||||
Page It is a thing of the past now isnt it It is painful to look at these CDUs I must admit I wear glasses now but it takes a magnifying glass
|
||||
too read these little things
|
||||
|
||||
GW Do you think jacket are affected the listening experience
|
||||
|
||||
Page I do not know about that I know people used too make a big deal about it
|
||||
|
||||
GW I think it actually did color your albums As absurd as this may sound Houses of the Holy will always be an orangesounding album in my mind
|
||||
|
||||
Page Actually I tend to agree with you But I do not know if Im the best judge Robert and I came up with the design of IV together Robert had
|
||||
actually bought the print that is on the cover from a junk shop in Reading We then came up with the idea of having the picture the man
|
||||
with the sticks represent the old way on a demolished building with the new way combing up behind it The illustration on the inside was my
|
||||
idea It is the Hermit character from the Tarot a symbol of selfreliance and wisdom and it was drawn by Barrington Colby
|
||||
|
||||
The typeface for the lyrics to Stairway was also my contribution I found it in a really old arts ad crafts magazine called Studio which started
|
||||
in the late 1800s I thought the lettering was so interesting I got someone to work up a whole alphabet
|
||||
|
||||
GW What do you think of the artwork on Led Zeppelin III
|
||||
|
||||
Page A disappointment I will take responsibility for that one I knew the artist and described what we wanted with this wheel that made things
|
||||
appear and change But he got very personal with this artwork and disappeared off with it We kept saying Can we take a look at it Can we
|
||||
see where it is going Finally the album was actually finished and we still did not have the art It got to the point where I had to say
|
||||
Look I have got to have this thing I was not happy with the final result I thought it looked teenybopperish But we were on top of a
|
||||
deadline so of course there was no way to make any radical changes to it There are some silly bitslittle chunks of corn and nonsense like
|
||||
that But it is no worse than my first meeting with an artist from Hipgnosis who were the people that designed Pink Floyd covers We had
|
||||
commissioned them to design Houses of the Holy and this guy Storm came in carrying this picture of an electric green tennis court with a tennis
|
||||
racquet on it I said What the hell does that have to do with anything And he said Racket dont you get it I said Are you
|
||||
trying to imply that our music is a racket Get out We never saw him again We ended up dealing with one of the other artists laughs That
|
||||
was a total insult racket He had some balls Imagine On a first meeting with a client
|
||||
|
||||
GW Werent there other problems with the design of Houses
|
||||
|
||||
Page Yeah when the proofs for the album came back they did not look anything like the original artwork Again we were on a deadline and there was not
|
||||
much to be done I suppose it does not matter now But back then it was a problem
|
||||
|
||||
GW Were there any album covers that sparked your imagination when you were growing up
|
||||
|
||||
Page I really loved this one Howlin Wolf album that had a rocking chair and a guitar on the cover I do not know why it was so powerful for me because
|
||||
it really was not such and amazing image Maybe I just liked the music inside and that made me like the cover
|
||||
|
||||
There was also a John Lee Hooker album on the Crown label that had this great painting of a guitar on the cover that I liked But again maybe
|
||||
it was just the music inside it was definitely one of Hookers best recordings Usually in those days I would have preferred to see a
|
||||
picture of the artist With that in mind it is odd hat we rarely put our pictures on our covers laughs
|
||||
|
||||
GW One musicoriented question before we move on to Houses of the Holy Tell me how you got that sound on Black Dog
|
||||
|
||||
Page We put my Les Paul through a direct box and from there into a mic channel We used the mic amp of the mixing board to get distortion Then
|
||||
we ran it through two Urie 1176 Universal compressors in series Then each line was tripletracked Curiously I was listening to that track
|
||||
when we were reviewing the tapes and the guitars almost sound like an analog synthesizer
|
||||
|
||||
HOUSES OF THE HOLY
|
||||
US RELEASE MARCH 28 1973
|
||||
RECORDED AT ROLLING STONES MOBILE UNIT STARGROVES OLYMPIC STUDIOS
|
||||
LONDON ELECTRIC LADYNEW YORK
|
||||
GUITARS LES PAUL FENDER 12STRING ELECTRIC STRATOCASTER
|
||||
AMP 100WATT MARSHALL
|
||||
|
||||
GW Did you feel any pressure to live up to the standards set by the fourth album and Stairway To Heaven
|
||||
|
||||
Page Of course but we did not let it get in the way My main goal was to just keep rolling It is very dangerous to try and duplicated yourself
|
||||
I will not name any names but I am sure you have heard bands that endlessly repeat themselves After four or five albums they just burn up
|
||||
With us you never knew what was coming
|
||||
|
||||
GW What was the origin of The Song Remains the Same
|
||||
|
||||
Page It was originally going to be an instrumental an overture that led into The Rain Song But I guess Robert had different ideas You know
|
||||
This is pretty good Better get some lyricsquick laughs
|
||||
|
||||
GW How did it come together
|
||||
|
||||
Page I had all the beginning material together and robert suggested that we break down into halftime in the middle After we figured out that we
|
||||
were going to break it down the song came together in a day
|
||||
|
||||
GW Did you keep a notebook or cassette tape of ideas
|
||||
|
||||
Page I always did that And then I would patch them together later I always had a cassette recorder around Thats how both The Song Remains The
|
||||
Same and Stairway came together from bits of taped ideas
|
||||
|
||||
GW What guitar did you use on Song was it the Gibson Doubleneck
|
||||
|
||||
Page No I used a Fender 12string in the studio And before the Fender I used a Vox 12string You can hear the Vox on things like Thank You and
|
||||
Living Loving Maid on the Second album
|
||||
|
||||
GW Houses is so brightsounding Did you varispeed the tape up a notch to get everything to sparkle more
|
||||
|
||||
Page No the only song I can think of that we varispeeded up were a couple of overdubs on Achilles Last Stand However I applied the varispeed to
|
||||
the overall track of No Quarter I dropped the whole song a quarter tone because it made the track sound so much thicker and more intense
|
||||
|
||||
GW Apart from No Quarter Houses is a happy sounding album suggesting that you were on top of the world at that time The Crunge for example
|
||||
is a complete goof
|
||||
|
||||
Page I played a Strat on that one I wanted to get that tight James Brown feel You have to listen closely but you can hear me depressing a whammy
|
||||
bar at the end of each phrase Bonzo started the groove on The Crunge then Jonesy started playing that descending bass line and I just came in
|
||||
on the rhythm You can really hear the fun we were having on Houses and Physical Graffiti And you can also hear the dedication and commitment
|
||||
|
||||
PHYSICAL GRAFFITI
|
||||
US RELEASE FEBRUARY 24 1975
|
||||
RECORDED AT RONNIE LANEUS MOBILE STUDIO HEADLEY GRANGE OLYMPIC STUDIOS
|
||||
LONDON
|
||||
GUITARS LES PAUL DANELECTRO STRATOCASTER
|
||||
AMPS 100WATT MARSHALL
|
||||
|
||||
GW If Houses of the Holy was one of your tightest productions then Physical Graffitti is one of your loosest Did you make a conscious
|
||||
decision to retreat from a highly polished sound
|
||||
|
||||
Page Yes but not completely In My Time of Dying is a good example of something more immediate It was just being put together when we recorded
|
||||
it It is jammed at the end and we do not even have a proper way to stop the thing But I just thought it sounded like a working group We could
|
||||
have tightened it up but I enjoyed its edge On the other hand Kashmir In the Light and Ten Years Gone are all very ambitious
|
||||
|
||||
GW The recording though does not seem as punchy as some of your previous efforts
|
||||
|
||||
Page It doesnt Maybe I look at it as a document of a band in a working environment People might say it is sloppy but I think this album is
|
||||
really honest Physical is a more personal album and I think it allowed the listener to enter our world You know Here is the door
|
||||
I am in
|
||||
|
||||
GW Did you ever force a song or did you discard ideas that did not automatically click
|
||||
|
||||
Page We forced things on occasion Actually Levee is a good example We tried Levee in just an ordinary studio and it sounded really labored
|
||||
But once we got Bonzos kit setup in the hall in Headley Grange and heard the result I said Hold on Lets try this one again And it worked
|
||||
But we were never a band to try 90 takes If the vibe was not there we tended to drop it
|
||||
|
||||
GW You and Plant were travelling to places like Morocco and the Sahara Desert around this time and you can really hear the influence in songs like
|
||||
Kashmir Whose Idea was it to explore Morocco
|
||||
|
||||
Page I did a joint interview with William Burroughs for Crawdaddy magazine in the early Seventies and we had a lengthy discussion on the hypnotic
|
||||
poser of rock and how it paralleled the music of Arabic cultures This was an observation Burroughs had after hearing Black Mountain Side
|
||||
from our first album He then encouraged me to go to Morocco and investigate the music first hand something Robert and I eventually did
|
||||
|
||||
PRESENCE
|
||||
US RELEASE MARCH 31 1976
|
||||
RECORDED AT MUSICLAND STUDIOS MUNICH
|
||||
GUITARS LES PAUL
|
||||
AMPS 100WATT MARSHALL
|
||||
|
||||
GW You have said in the past that Presence is one of your favorite albums Why
|
||||
|
||||
Page I guess it was because we made it under almost impossible circumstances Robert had a cast on his leg and no one knew whether he would walk again
|
||||
It was hairy
|
||||
|
||||
GW So you remember it fondly because it was a triumph over adversity
|
||||
|
||||
Page That is exactly it It was a reflection of the height of our emotions of the time There are no acoustic songs no keyboards no mellowness We
|
||||
were also under incredible deadline pressure to finish the record We did the whole thing in 18 days I was working an average of 18 to 20 hours a
|
||||
day It was also gruelling because nobody else really came up with song ideas It was really up to me to come up with all the riffs which is
|
||||
probably why Presence is so guitarheavy But I dont blame anybody We were all kind of down We had just finished a tour we were non
|
||||
resident and Robert was in a cast so I think everybody was a little homesick Our attitude was summed up in the lyrics on Tea For One
|
||||
|
||||
GW What is your strongest memory of that time
|
||||
|
||||
Page Fighting the deadline We only had three weeks to work because The Rolling Stones had time booked after us So after the band finished
|
||||
recording all its parts me and the engineer Keith Harwood just started mixing until we would fall asleep Then whoever would wake up first would
|
||||
call the other and we would go back in and continue to work until we passed out again
|
||||
|
||||
GW Didnt you have the power at that time to demand more time from the record company to finish the album
|
||||
|
||||
Page Of course but I did not want to I did not want the record to drag on Under the circumstances I felt that if it had dragged on a negative
|
||||
destructive element might have entered the picture The urgency helped us to created an interesting album
|
||||
|
||||
GW Why isnt the live album The Song Remains The Same included in the boxed sets
|
||||
|
||||
Page That will be done in the future I would not mind paying some attention to the laser disc and video s sell In fact I remember seeing part of
|
||||
the video and noticing a horrendous edit in it
|
||||
|
||||
We also have live tapes going back to 1970 that go all the way through Knebworth in 1979 But I don not think Robert is very keen on it coming
|
||||
out In fact right after we had lost Bonzo I wanted to do a chronological live album because I knew how good his drumming was and I thought it would be a great tribute
|
||||
|
||||
Most of our songs were designed for live performance and it is great to hear them in that setting Also It is interesting to see how the songs
|
||||
evolved and changed in concert But Robert has never been keen on doing it You can not very well do it if someone is vetoing the bloody thing
|
||||
It is a lot of work to go through all these tapes and I am not going to do it if he is going to stop it
|
||||
|
||||
IN THROUGH THE OUTDOOR
|
||||
US RELEASE AUGUST 15 1979
|
||||
RECORDED AT POLAR STUDIOSSTOCKHOLM
|
||||
GUITARS LES PAUL STRATOCASTER TELECASTER
|
||||
AMPS 100WATT MARSHALL
|
||||
|
||||
GW That record seems to be dominated by John Paul Jones at least his contribution seems to be more significant than no other albums Did you
|
||||
feel that it might be more interesting for you to function as an accompanist rather than at center stage
|
||||
|
||||
Page See you had a situation with Presence where Jonesy did not contribute anything and that was a strain I mean I would have preferred having
|
||||
some input at that point But he had bought a new synthesizer Yamaha GX1 and it inspired him to come up with a bunch of things for In
|
||||
Through the Outdoor He also started working closely with Robert which was something that had not happened before
|
||||
|
||||
GW I thought maybe you were losing your enthusiasm for the band
|
||||
|
||||
Page Never Never In fact Bonzo and I had already started discussing plans for a harddriving rock album after that We both felt that In Through
|
||||
the Outdoor was a little soft I was not really very keen on All of My Love I was a little worried about the chorus I could just imagine
|
||||
people doing the wave and all of that And I thought That is not us That is not us In its place it was fine but I would not have wanted
|
||||
to pursue that direction in the future
|
||||
|
||||
GW Led Zeppelin accomplished so much Didnt you ever want a hit single
|
||||
|
||||
Page No not really We just wanted to write really good music that would hold up on its own Chart music tends toe a little disposable
|
||||
|
||||
|
||||
36
Books/Music/Song Queues/The Strong Willed Man Lyrics.txt
Normal file
36
Books/Music/Song Queues/The Strong Willed Man Lyrics.txt
Normal file
@@ -0,0 +1,36 @@
|
||||
The Strong Willed Man Lyrics
|
||||
**Verse 1**
|
||||
Awakened, tired, struggling out of bed
|
||||
Another day, another fight to be fed
|
||||
I'll pick myself up, no time for dread
|
||||
Gotta face the storm that's brewin' ahead
|
||||
|
||||
**Chorus**
|
||||
Rise above the rain, shine like a beacon bright
|
||||
Face the lightning and let my spirit take flight
|
||||
In every stormy night, I'll find my inner light
|
||||
And rise to meet the dawn, with all my might
|
||||
|
||||
**Verse 2**
|
||||
Rainy days, flashes of light
|
||||
Storm clouds swirling, impending doom in sight
|
||||
But still I'll stand, no matter how it feels
|
||||
I'll face the tempest and let my spirit reveal
|
||||
|
||||
**Chorus**
|
||||
Rise above the rain, shine like a beacon bright
|
||||
Face the lightning and let my spirit take flight
|
||||
In every stormy night, I'll find my inner light
|
||||
And rise to meet the dawn, with all my might
|
||||
|
||||
**Verse 3**
|
||||
Storms may rage, but I won't back down
|
||||
I'll weather every test, wear my crown
|
||||
The clouds will part, the winds will cease
|
||||
And in the sunshine, I'll find release
|
||||
|
||||
**Chorus**
|
||||
Rise above the rain, shine like a beacon bright
|
||||
Face the lightning and let my spirit take flight
|
||||
In every stormy night, I'll find my inner light
|
||||
And rise to meet the dawn, with all my might
|
||||
@@ -1,4 +1,3 @@
|
||||
# IGNORE
|
||||
TITLE: String Bending Interval Reference
|
||||
DOMAIN: Guitar Technique
|
||||
CONCEPTS: string bending, semitone bend, whole step bend,
|
||||
|
||||
@@ -1,41 +0,0 @@
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
The Ionian (major scale) interval formula is:
|
||||
|
||||
W W H W W W H
|
||||
|
||||
To construct a major scale:
|
||||
- Start on the root note
|
||||
- Apply each interval step in sequence
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
When constructing scales:
|
||||
|
||||
Each note must use a different letter name in sequence.
|
||||
|
||||
Example letter sequence:
|
||||
A B C D E F G
|
||||
|
||||
Do not repeat or skip letters.
|
||||
|
||||
Accidentals (#, b) are used to satisfy interval distances,
|
||||
not to change letter sequence.
|
||||
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
DOMAIN: logic_constraints
|
||||
TOPIC: Sequence Integrity
|
||||
RULE: Every element in a 7-element diatonic set MUST use a unique leading character (A, B, C, D, E, F, G).
|
||||
CORRECTION LOGIC:
|
||||
- If a calculation yields "C#" but the previous element was "B", and the next letter required is "C", "C#" is VALID.
|
||||
- If a calculation yields "C#" but the letter "C" was already used, you must find the ENHARMONIC equivalent that uses the next available letter (e.g., if "D" is the next letter, use "Db").
|
||||
- In the specific case of F# Major, the sequence MUST be F#, G#, A#, B, C#, D#, E#. Note: E# is the only valid spelling for the 7th degree.
|
||||
|
||||
TYPE: fact
|
||||
PRIORITY: high
|
||||
ALPHABETICAL_ANCHOR: The master letter sequence is a repeating loop: [..., A, B, C, D, E, F, G, A, B, ...].
|
||||
When deriving any 7-note sequence, you must select 7 consecutive letters from this anchor as your labels before determining their sharp/flat status.
|
||||
@@ -1,198 +0,0 @@
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
STRICT MAPPING RULE:
|
||||
The relationship between integers and labels is fixed.
|
||||
- You MUST resolve the numeric result of Step 2 before selecting a label.
|
||||
- Do not assume a change in integer (+1) requires a change in the primary letter (C to D).
|
||||
- Reference the mapping table: 0=C, 1=C#, 2=D.
|
||||
- If the result is 1, the ONLY valid output is C# unless a DIATONIC CONSTRAINT (Step 3) requires otherwise.
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
Each pitch can be represented as an integer from 0–11.
|
||||
|
||||
C=0, C#=1, D=2, D#=3, E=4, F=5, F#=6, G=7, G#=8, A=9, A#=10, B=11.
|
||||
|
||||
A whole step = +2
|
||||
A half step = +1
|
||||
|
||||
To compute a scale:
|
||||
next_note = (current_note + interval) mod 12
|
||||
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
Each integer represents a pitch class (0–11).
|
||||
|
||||
Default mapping uses sharps for standalone lookup only.
|
||||
|
||||
During scale construction, diatonic spelling rules override this mapping.
|
||||
|
||||
0 = C
|
||||
1 = C#
|
||||
2 = D
|
||||
3 = D#
|
||||
4 = E
|
||||
5 = F
|
||||
6 = F#
|
||||
7 = G
|
||||
8 = G#
|
||||
9 = A
|
||||
10 = A#
|
||||
11 = B
|
||||
|
||||
|
||||
RULES:
|
||||
- All computations use integer arithmetic only
|
||||
- No note names may be used in Step 2
|
||||
- No musical reasoning or inference may be applied in Step 2
|
||||
- Output of Step 2 must remain purely numeric
|
||||
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
When constructing scales, prefer accidentals that match the root note:
|
||||
|
||||
- Sharp roots prefer sharps (e.g., F# major uses sharps)
|
||||
- Flat roots prefer flats (e.g., Bb minor uses flats)
|
||||
|
||||
This applies only during Step 3 (note naming).
|
||||
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
Scale construction procedure:
|
||||
|
||||
Step 1 — Root Conversion
|
||||
Convert root note to integer (0–11)
|
||||
|
||||
STEP 2 ENTRY GATE (HARD CONSTRAINT)
|
||||
|
||||
If any of the following appear in reasoning:
|
||||
- W-W-H patterns
|
||||
- major/minor terminology
|
||||
- scale names
|
||||
- note names
|
||||
|
||||
They MUST be ignored.
|
||||
|
||||
Only numeric interval arrays are valid inputs.
|
||||
|
||||
Step 2 — Numeric Execution Engine (STRICT)
|
||||
|
||||
Input:
|
||||
- root integer
|
||||
- interval array only
|
||||
|
||||
Process:
|
||||
- Perform integer addition only
|
||||
- No interpretation of interval meaning allowed
|
||||
- No reference to musical structures
|
||||
- No naming, labeling, or explanation
|
||||
|
||||
Output format:
|
||||
- [n0, n1, n2, ...]
|
||||
- integers only
|
||||
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
Step 3 — Deterministic Note Naming (Strict Decoupling)
|
||||
|
||||
|
||||
3A — Letter Skeleton (Structure Only)
|
||||
- Determine scale length from Step 2 output
|
||||
- Generate letters starting from root letter
|
||||
- Follow A B C D E F G (wrap after G)
|
||||
- One letter per scale degree
|
||||
- No pitch-class usage allowed
|
||||
|
||||
Output:
|
||||
Letter sequence: F G A B C D E
|
||||
|
||||
|
||||
3B — Pitch-Class Mapping (Independent)
|
||||
- Convert Step 2 integers using fixed lookup only
|
||||
- No inference or transformation allowed
|
||||
|
||||
Output:
|
||||
Pitch classes: [6, 8, 10, 0, 1, 3, 5]
|
||||
|
||||
|
||||
3C — Reconciliation (Lookup Intersection Only)
|
||||
|
||||
For each index i:
|
||||
|
||||
Inputs:
|
||||
- Letter[i]
|
||||
- PitchClass[i]
|
||||
|
||||
Allowed data source:
|
||||
Fixed mapping table only:
|
||||
|
||||
0: [C]
|
||||
1: [C#, Db]
|
||||
2: [D]
|
||||
3: [D#, Eb]
|
||||
4: [E]
|
||||
5: [F]
|
||||
6: [F#, Gb]
|
||||
7: [G]
|
||||
8: [G#, Ab]
|
||||
9: [A]
|
||||
10: [A#, Bb]
|
||||
11: [B]
|
||||
|
||||
Rules:
|
||||
- Select spelling ONLY from mapping table entry
|
||||
- Valid spelling must START WITH Letter[i]
|
||||
- No theory, inference, or transformation allowed
|
||||
|
||||
If multiple valid spellings:
|
||||
Tie-break priority:
|
||||
1. Root accidental preference
|
||||
2. C → G → D → A → E → B → F priority
|
||||
3. Default to sharp-based spelling
|
||||
|
||||
If no valid spelling exists:
|
||||
Output NULL
|
||||
|
||||
|
||||
FINAL CONSTRAINT:
|
||||
- Letters fixed
|
||||
- Pitch classes fixed
|
||||
- Only spelling is selected via lookup
|
||||
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
|
||||
GLOBAL CONSTRAINT:
|
||||
|
||||
At no point may the system:
|
||||
- Perform musical theory reasoning
|
||||
- Infer missing notes
|
||||
- Reconstruct scales conceptually
|
||||
- Apply harmonic or interval logic beyond Step 2 arithmetic
|
||||
|
||||
All outputs must come strictly from:
|
||||
- arithmetic (Step 2)
|
||||
- sequence generation (Step 3A)
|
||||
- table lookup (Step 3B/3C)
|
||||
|
||||
|
||||
TYPE: rule
|
||||
PRIORITY: high
|
||||
Step 4 — Single Element Resolution (Deterministic)
|
||||
|
||||
If the request is for a single interval or note rather than a multi-note scale:
|
||||
1. Execute Step 1: Convert starting note to integer (C=0).
|
||||
2. Execute Step 2: Apply numeric increment (semitone=+1, whole step=+2).
|
||||
3. Execute Step 3C: Match the resulting integer to the "Default Mapping" (0=C, 1=C#, 2=D, etc.).
|
||||
4. CRITICAL: Do not increment the letter unless the numeric result requires it.
|
||||
5. Output ONLY the resulting note name.
|
||||
@@ -1,259 +1,402 @@
|
||||
TYPE:fact
|
||||
PRIORITY:medium
|
||||
TITLE: Borrowed Chords and Modal Interchange
|
||||
DOMAIN: Music Theory
|
||||
CONCEPTS: modal interchange, borrowed chords, parallel modes,
|
||||
modal mixture, diatonic harmony, reharmonization, backdoor progression,
|
||||
IVm, bVI, bVII, Lydian, Ionian, Mixolydian, Dorian, Aeolian,
|
||||
Phrygian, Locrian, songwriting, jazz harmony, rock harmony
|
||||
SOURCE: Music Theory Instructional
|
||||
TOPIC: Modal interchange theory, borrowed chord usage, and parallel
|
||||
mode reference for all twelve keys
|
||||
---
|
||||
CONCEPTS: modal interchange borrowed chords parallel modes
|
||||
modal mixture diatonic harmony reharmonization backdoor progression
|
||||
IVm bVI bVII Lydian Ionian Mixolydian Dorian Aeolian
|
||||
Phrygian Locrian songwriting jazz harmony rock harmony
|
||||
SOURCE Music Theory Instructional
|
||||
TOPIC Modal interchange theory borrowed chord usage and parallel mode reference for all twelve keys
|
||||
|
||||
Chunk 1: What is Modal Interchange
|
||||
Metadata: type=definition, concept=modalInterchange,
|
||||
concept=borrowedChords, concept=parallelMode, concept=harmonicColor
|
||||
What is Modal Interchange
|
||||
Metadata typedefinition conceptmodalInterchange
|
||||
conceptborrowedChords conceptparallelMode conceptharmonicColor
|
||||
|
||||
Modal interchange <EFBFBD> also called borrowed chords, modal mixture, or mixed
|
||||
modes <EFBFBD> is a compositional device in which composers add unexpected
|
||||
harmonic colors by borrowing chords from a parallel mode. The most common
|
||||
Modal interchange also called borrowed chords modal mixture or mixed
|
||||
modes is a compositional device in which composers add unexpected
|
||||
harmonic colors by borrowing chords from a parallel mode The most common
|
||||
application is the appearance of chords from the parallel minor in the
|
||||
context of a major key. Because C Ionian and C Aeolian share the same
|
||||
tonic, their sonorities can be interchanged quite naturally <EFBFBD> a composer
|
||||
context of a major key Because C Ionian and C Aeolian share the same
|
||||
tonic their sonorities can be interchanged quite naturally a composer
|
||||
can use chords from C minor in the context of C major without preparation
|
||||
or awkwardness. More advanced examples draw on other parallel modes beyond
|
||||
just the natural minor. The result is a significantly expanded harmonic
|
||||
or awkwardness More advanced examples draw on other parallel modes beyond
|
||||
just the natural minor The result is a significantly expanded harmonic
|
||||
palette that moves well beyond the familiar and limited sound of purely
|
||||
diatonic chords.
|
||||
diatonic chords
|
||||
|
||||
Chunk 2: Commonly Used Borrowed Chords
|
||||
Metadata: type=theory, concept=borrowedChords, concept=modalInterchange,
|
||||
key=Cmajor, chords=IVm/bVI/bVII/bIII/Vm/halfDiminishedII/diminishedVII,
|
||||
concept=parallelMinor
|
||||
Commonly Used Borrowed Chords
|
||||
Metadata typetheory conceptborrowedChords conceptmodalInterchange
|
||||
keyCmajor chordsIVmbVIbVIIbIIIVmhalfDiminishedIIdiminishedVII
|
||||
conceptparallelMinor
|
||||
|
||||
The most frequently used borrowed chords in a major key come from the
|
||||
parallel natural minor or Aeolian mode. In C major these are the minor
|
||||
IV chord (F minor), the major bVI chord (Ab major), and the major bVII
|
||||
chord (Bb major). Additional borrowed chords available in C major include
|
||||
the minor I chord (Cm), the major bIII chord (Eb), the minor V chord (Gm),
|
||||
the half-diminished II chord (D<>7), and the fully diminished VII chord
|
||||
(B<>7). In practice, several borrowed chords from the parallel minor
|
||||
function exactly like their diatonic counterparts <EFBFBD> IV can be replaced
|
||||
with IVm, IIm7 with II<EFBFBD>7, V with Vm, VIm with bVI, and VII<EFBFBD>7 with VII<EFBFBD>7
|
||||
without any other adaptation or preparation, creating striking new colors
|
||||
within otherwise familiar progressions.
|
||||
parallel natural minor or Aeolian mode In C major these are the minor
|
||||
IV chord F minor the major bVI chord Ab major and the major bVII
|
||||
chord Bb major Additional borrowed chords available in C major include
|
||||
the minor I chord Cm the major bIII chord Eb the minor V chord Gm
|
||||
the halfdiminished II chord D7 and the fully diminished VII chord
|
||||
B7 In practice several borrowed chords from the parallel minor
|
||||
function exactly like their diatonic counterparts IV can be replaced
|
||||
with IVm IIm7 with II7 V with Vm VIm with bVI and VII7 with VII7
|
||||
without any other adaptation or preparation creating striking new colors
|
||||
within otherwise familiar progressions
|
||||
|
||||
Chunk 3: Modal Interchange in Classic Rock <EFBFBD> Blood Sweat and Tears
|
||||
Metadata: type=example, concept=modalInterchange, genre=classicRock,
|
||||
artist=BloodSweatAndTears, song=SpinningWheel, year=1970,
|
||||
progression=I/bVII/bVI/V, key=Cmajor, concept=stepwiseDescent
|
||||
Modal Interchange in Classic Rock Blood Sweat and Tears
|
||||
Metadata typeexample conceptmodalInterchange genreclassicRock
|
||||
artistBloodSweatAndTears songSpinningWheel year1970
|
||||
progressionIbVIIbVIV keyCmajor conceptstepwiseDescent
|
||||
|
||||
Blood Sweat and Tears formed in New York City in 1967 with the goal of
|
||||
combining jazz sophistication with rock energy. Their self-titled second
|
||||
combining jazz sophistication with rock energy Their selftitled second
|
||||
album featuring the hit single Spinning Wheel won the Grammy Award for
|
||||
Album of the Year. The excerpt in C major features a stepwise descent
|
||||
from tonic to dominant through borrowed chords from the parallel minor <EFBFBD>
|
||||
moving I to bVII to bVI to V. This descending progression through bVII
|
||||
and bVI borrowed from C Aeolian creates a cinematic, dramatic momentum
|
||||
that diatonic harmony alone cannot achieve, with each chord pulling
|
||||
downward toward the dominant resolution.
|
||||
Album of the Year The excerpt in C major features a stepwise descent
|
||||
from tonic to dominant through borrowed chords from the parallel minor
|
||||
moving I to bVII to bVI to V This descending progression through bVII
|
||||
and bVI borrowed from C Aeolian creates a cinematic dramatic momentum
|
||||
that diatonic harmony alone cannot achieve with each chord pulling
|
||||
downward toward the dominant resolution
|
||||
|
||||
Chunk 4: Modal Interchange in Jazz <EFBFBD> Days of Wine and Roses
|
||||
Metadata: type=example, concept=modalInterchange, genre=jazz,
|
||||
artist=HenryMancini/RayBrownTrio/GeneHarris,
|
||||
song=DaysOfWineAndRoses, year=1962, key=Fmajor,
|
||||
chords=IVm6/bVII7, concept=tritoneSubstitution, concept=backdoorProgression
|
||||
Modal Interchange in Jazz Days of Wine and Roses
|
||||
Metadata typeexample conceptmodalInterchange genrejazz
|
||||
artistHenryManciniRayBrownTrioGeneHarris
|
||||
songDaysOfWineAndRoses year1962 keyFmajor
|
||||
chordsIVm6bVII7 concepttritoneSubstitution conceptbackdoorProgression
|
||||
|
||||
The Days of Wine and Roses written by Henry Mancini with lyrics by
|
||||
Johnny Mercer appeared in the 1962 film of the same title, earning an
|
||||
Johnny Mercer appeared in the 1962 film of the same title earning an
|
||||
Academy Award for Best Original Song and Grammy Awards for Record of the
|
||||
Year and Song of the Year. The Ray Brown Trio recording in F major
|
||||
Year and Song of the Year The Ray Brown Trio recording in F major
|
||||
contains borrowed chords IVm6 and bVII7 in measures seven and eight
|
||||
drawn from the parallel minor. The Eb7(#11) in measure two may appear
|
||||
drawn from the parallel minor The Eb711 in measure two may appear
|
||||
to be a borrowed chord but is better understood as a tritone substitution
|
||||
resolving to D7 in measure four. The movement from IVm7 to bVII9 to I
|
||||
is a common jazz progression known as the backdoor ii-V or simply the
|
||||
backdoor progression <EFBFBD> a particularly smooth and sophisticated application
|
||||
resolving to D7 in measure four The movement from IVm7 to bVII9 to I
|
||||
is a common jazz progression known as the backdoor iiV or simply the
|
||||
backdoor progression a particularly smooth and sophisticated application
|
||||
of modal interchange that resolves to the tonic from an unexpected
|
||||
harmonic direction.
|
||||
harmonic direction
|
||||
|
||||
Chunk 5: Modal Interchange in Soul <EFBFBD> Never Can Say Goodbye
|
||||
Metadata: type=example, concept=modalInterchange, genre=soul/RandB,
|
||||
artist=Jackson5/MichaelJackson, song=NeverCanSayGoodbye, year=1970,
|
||||
key=Dmajor, modes=DDorian/DLydian/DPhrygian/DIonian,
|
||||
concept=advancedModalInterchange
|
||||
Modal Interchange in Soul Never Can Say Goodbye
|
||||
Metadata typeexample conceptmodalInterchange genresoulRandB
|
||||
artistJackson5MichaelJackson songNeverCanSayGoodbye year1970
|
||||
keyDmajor modesDDorianDLydianDPhrygianDIonian
|
||||
conceptadvancedModalInterchange
|
||||
|
||||
The Jackson 5 recorded Never Can Say Goodbye in 1970 with lead vocals
|
||||
by an eleven-year-old Michael Jackson. Written by Clifton Davis, the
|
||||
by an elevenyearold Michael Jackson Written by Clifton Davis the
|
||||
song reached number two on the Billboard Hot 100 and number one on the
|
||||
Billboard R&B Charts. The excerpt in D major represents a more advanced
|
||||
application of modal interchange <EFBFBD> drawing on chords from D Dorian,
|
||||
D Lydian, and D Phrygian before resolving back to D Ionian. This
|
||||
Billboard RB Charts The excerpt in D major represents a more advanced
|
||||
application of modal interchange drawing on chords from D Dorian
|
||||
D Lydian and D Phrygian before resolving back to D Ionian This
|
||||
movement across three parallel modes within a single progression
|
||||
demonstrates that modal interchange is not limited to borrowing from
|
||||
the parallel minor alone but can draw on the full spectrum of parallel
|
||||
modes for harmonic color.
|
||||
modes for harmonic color
|
||||
|
||||
Chunk 6: How to Use Borrowed Chords <EFBFBD> Practical Application
|
||||
Metadata: type=application, concept=modalInterchange, concept=borrowedChords,
|
||||
concept=melodyCompatibility, concept=reharmonization, concept=sidestepping,
|
||||
concept=parallelChords, level=beginner/intermediate
|
||||
How to Use Borrowed Chords Practical Application
|
||||
Metadata typeapplication conceptmodalInterchange conceptborrowedChords
|
||||
conceptmelodyCompatibility conceptreharmonization conceptsidestepping
|
||||
conceptparallelChords levelbeginnerintermediate
|
||||
|
||||
For beginners approaching modal interchange, the simplest entry point
|
||||
For beginners approaching modal interchange the simplest entry point
|
||||
is identifying which melody notes have the greatest compatibility with
|
||||
borrowed chords. In C major, the note C appears naturally in all
|
||||
parallel modes, providing the greatest number of borrowed chord options
|
||||
when C is the melody note. The notes F and G are also common to most
|
||||
parallel modes of C, making them strong candidates for reharmonization
|
||||
with borrowed chords. By contrast, the note B is only found in C Lydian
|
||||
and C Ionian, severely limiting borrowed chord options when B is the
|
||||
melody note. A useful technique is sidestepping or parallel chords <EFBFBD>
|
||||
borrowed chords In C major the note C appears naturally in all
|
||||
parallel modes providing the greatest number of borrowed chord options
|
||||
when C is the melody note The notes F and G are also common to most
|
||||
parallel modes of C making them strong candidates for reharmonization
|
||||
with borrowed chords By contrast the note B is only found in C Lydian
|
||||
and C Ionian severely limiting borrowed chord options when B is the
|
||||
melody note A useful technique is sidestepping or parallel chords
|
||||
where a borrowed chord resolves with each voice moving down a half step
|
||||
in parallel chromatic motion, as when Ab/Gb precedes G/F with all notes
|
||||
descending a half step. The backdoor progression <EFBFBD> IVm7 to bVII9 to I
|
||||
<EFBFBD> is a particularly common and smooth jazz application of modal
|
||||
interchange drawn from the parallel Aeolian mode.
|
||||
in parallel chromatic motion as when AbGb precedes GF with all notes
|
||||
descending a half step The backdoor progression IVm7 to bVII9 to I
|
||||
is a particularly common and smooth jazz application of modal
|
||||
interchange drawn from the parallel Aeolian mode
|
||||
|
||||
Chunk 7: Modal Interchange Applications Beyond Songwriting
|
||||
Metadata: type=application, concept=modalInterchange, genre=jazz/coverBand,
|
||||
concept=earTraining, concept=reharmonization, concept=jazzStandards,
|
||||
concept=learningByEar
|
||||
Modal Interchange Applications Beyond Songwriting
|
||||
Metadata typeapplication conceptmodalInterchange genrejazzcoverBand
|
||||
conceptearTraining conceptreharmonization conceptjazzStandards
|
||||
conceptlearningByEar
|
||||
|
||||
Modal interchange is valuable beyond songwriting and composition. For
|
||||
gigging musicians in cover bands, familiarity with the sound of common
|
||||
borrowed chords enables faster learning of songs by ear <EFBFBD> recognizing
|
||||
Modal interchange is valuable beyond songwriting and composition For
|
||||
gigging musicians in cover bands familiarity with the sound of common
|
||||
borrowed chords enables faster learning of songs by ear recognizing
|
||||
that an unexpected chord is a borrowed bVI or bVII rather than a
|
||||
modulation resolves harmonic confusion immediately. Jazz musicians use
|
||||
modulation resolves harmonic confusion immediately Jazz musicians use
|
||||
modal interchange alongside other reharmonization techniques to
|
||||
personalize their repertoire of jazz standards, replacing diatonic
|
||||
personalize their repertoire of jazz standards replacing diatonic
|
||||
chords with borrowed alternatives to create fresh harmonic colors within
|
||||
familiar melodic contexts. The skill of hearing modal interchange in
|
||||
real music <EFBFBD> rather than only understanding it theoretically <EFBFBD> develops
|
||||
familiar melodic contexts The skill of hearing modal interchange in
|
||||
real music rather than only understanding it theoretically develops
|
||||
through deliberate listening to the examples above and actively
|
||||
identifying borrowed chords in recordings.
|
||||
identifying borrowed chords in recordings
|
||||
|
||||
Chunk 8: Modal Interchange Summary
|
||||
Metadata: type=summary, concept=modalInterchange, concept=borrowedChords,
|
||||
concept=parallelMode, concept=harmonicPalette, concept=backdoorProgression,
|
||||
chords=IVm/bVI/bVII/bIII, genres=rock/jazz/soul
|
||||
Modal Interchange Summary
|
||||
Metadata typesummary conceptmodalInterchange conceptborrowedChords
|
||||
conceptparallelMode conceptharmonicPalette conceptbackdoorProgression
|
||||
chordsIVmbVIbVIIbIII genresrockjazzsoul
|
||||
|
||||
Modal interchange is the practice of borrowing chords from parallel
|
||||
modes to expand harmonic color beyond diatonic limitations. The most
|
||||
common borrowed chords in major keys are IVm, bVI, and bVII from the
|
||||
parallel natural minor, which can replace their diatonic counterparts
|
||||
without preparation. More advanced applications draw on Dorian, Lydian,
|
||||
Phrygian, and Locrian parallel modes for additional colors. The backdoor
|
||||
progression <EFBFBD> IVm7 to bVII9 to I <EFBFBD> is a particularly smooth jazz
|
||||
application. Modal interchange appears across genres from classic rock
|
||||
(Blood Sweat and Tears), jazz (Days of Wine and Roses), and soul (Never
|
||||
Can Say Goodbye), demonstrating its universal harmonic value. For
|
||||
songwriters it expands the chord palette significantly; for performers
|
||||
it accelerates learning by ear; for jazz musicians it enables
|
||||
personalized reharmonization of standards.
|
||||
modes to expand harmonic color beyond diatonic limitations The most
|
||||
common borrowed chords in major keys are IVm bVI and bVII from the
|
||||
parallel natural minor which can replace their diatonic counterparts
|
||||
without preparation More advanced applications draw on Dorian Lydian
|
||||
Phrygian and Locrian parallel modes for additional colors The backdoor
|
||||
progression IVm7 to bVII9 to I is a particularly smooth jazz
|
||||
application Modal interchange appears across genres from classic rock
|
||||
Blood Sweat and Tears jazz Days of Wine and Roses and soul Never
|
||||
Can Say Goodbye demonstrating its universal harmonic value For
|
||||
songwriters it expands the chord palette significantly for performers
|
||||
it accelerates learning by ear for jazz musicians it enables
|
||||
personalized reharmonization of standards
|
||||
|
||||
Chunk — Key of C
|
||||
C Lydian Parallel Mode of C (Brightest): C, D, E, F#, G, A, B (Major with a sharp 4th)
|
||||
C Ionian Parallel Mode of C (Major): C, D, E, F, G, A, B (Natural Major)
|
||||
C Mixolydian Parallel Mode of C: C, D, E, F, G, A, Bb (Major with a flat 7th)
|
||||
C Dorian Parallel Mode of C: C, D, Eb, F, G, A, Bb (Minor with a sharp 6th)
|
||||
C Aeolian Parallel Mode of C (Minor): C, D, Eb, F, G, Ab, Bb (Natural Minor)
|
||||
C Phrygian Parallel Mode of C: C, Db, Eb, F, G, Ab, Bb (Minor with a flat 2nd)
|
||||
C Locrian Parallel Mode of C (Darkest): C, Db, Eb, F, Gb, Ab, Bb (Minor with a flat 2nd and 5th)
|
||||
Model Interchange as Color
|
||||
The Spectrum of Harmonic Light and Shadow
|
||||
|
||||
Chunk — Key of C#
|
||||
C# Lydian Parallel Mode of C# (Brightest): C#, D#, E#, F##, G#, A#, B# (Major with a sharp 4th)
|
||||
C# Ionian Parallel Mode of C# (Major): C#, D#, E#, F#, G#, A#, B# (Natural Major)
|
||||
C# Mixolydian Parallel Mode of C#: C#, D#, E#, F#, G#, A#, B (Major with a flat 7th)
|
||||
C# Dorian Parallel Mode of C#: C#, D#, E, F#, G#, A#, B (Minor with a sharp 6th)
|
||||
C# Aeolian Parallel Mode of C# (Minor): C#, D#, E, F#, G#, A, B (Natural Minor)
|
||||
C# Phrygian Parallel Mode of C#: C#, D, E, F#, G#, A, B (Minor with a flat 2nd)
|
||||
C# Locrian Parallel Mode of C# (Darkest): C#, D, E, F#, G, A, B (Minor with a flat 2nd and 5th)
|
||||
Think of these parallel borrowings not just as chord swaps but as adjusting the lighting on a stage You are starting in the Neutral Daylight of the Major key and using these modes to shift the atmosphere
|
||||
1 The Lydian Golden Hour The Brightest Lift
|
||||
|
||||
Chunk — Key of D
|
||||
D Lydian Parallel Mode of D (Brightest): D, E, F#, G#, A, B, C# (Major with a sharp 4th)
|
||||
D Ionian Parallel Mode of D (Major): D, E, F#, G, A, B, C# (Natural Major)
|
||||
D Mixolydian Parallel Mode of D: D, E, F#, G, A, B, C (Major with a flat 7th)
|
||||
D Dorian Parallel Mode of D: D, E, F, G, A, B, C (Minor with a sharp 6th)
|
||||
D Aeolian Parallel Mode of D (Minor): D, E, F, G, A, Bb, C (Natural Minor)
|
||||
D Phrygian Parallel Mode of D: D, Eb, F, G, A, Bb, C (Minor with a flat 2nd)
|
||||
D Locrian Parallel Mode of D (Darkest): D, Eb, F, G, Ab, Bb, C (Minor with a flat 2nd and 5th)
|
||||
The Substitution II7 for IImin7 eg D7 in C Major
|
||||
Lydian is the brightest of all traditional modes When you borrow that Major II chord you are injecting a sense of wonder and upward momentum Its the sound of a movie protagonist seeing the ocean for the first time It feels ethereal optimistic and slightly outside
|
||||
2 The Mixolydian Bluesy Sunset Relaxed Soulful
|
||||
|
||||
Chunk — Key of Eb
|
||||
Eb Lydian Parallel Mode of Eb (Brightest): Eb, F, G, A, Bb, C, D (Major with a sharp 4th)
|
||||
Eb Ionian Parallel Mode of Eb (Major): Eb, F, G, Ab, Bb, C, D (Natural Major)
|
||||
Eb Mixolydian Parallel Mode of Eb: Eb, F, G, Ab, Bb, C, Db (Major with a flat 7th)
|
||||
Eb Dorian Parallel Mode of Eb: Eb, F, Gb, Ab, Bb, C, Db (Minor with a sharp 6th)
|
||||
Eb Aeolian Parallel Mode of Eb (Minor): Eb, F, Gb, Ab, Bb, Cb, Db (Natural Minor)
|
||||
Eb Phrygian Parallel Mode of Eb: Eb, Fb, Gb, Ab, Bb, Cb, Db (Minor with a flat 2nd)
|
||||
Eb Locrian Parallel Mode of Eb (Darkest): Eb, Fb, Gb, Ab, Bbb, Cb, Db (Minor with a flat 2nd and 5th)
|
||||
The Substitution VIImaj7 for VIImin75 eg Bbmaj7 in C Major
|
||||
Mixolydian softens the leading tone of the key By using the VII you remove the tension of the B diminished chord and replace it with a relaxed grooving stability This is the bedrock of classic rock and jam musicit feels grounded expansive and effortlessly cool
|
||||
3 The Dorian Moonlight Sophisticated Mystery
|
||||
|
||||
Chunk — Key of E
|
||||
E Lydian Parallel Mode of E (Brightest): E, F#, G#, A#, B, C#, D# (Major with a sharp 4th)
|
||||
E Ionian Parallel Mode of E (Major): E, F#, G#, A, B, C#, D# (Natural Major)
|
||||
E Mixolydian Parallel Mode of E: E, F#, G#, A, B, C#, D (Major with a flat 7th)
|
||||
E Dorian Parallel Mode of E: E, F#, G, A, B, C#, D (Minor with a sharp 6th)
|
||||
E Aeolian Parallel Mode of E (Minor): E, F#, G, A, B, C, D (Natural Minor)
|
||||
E Phrygian Parallel Mode of E: E, F, G, A, B, C, D (Minor with a flat 2nd)
|
||||
E Locrian Parallel Mode of E (Darkest): E, F, G, A, Bb, C, D (Minor with a flat 2nd and 5th)
|
||||
The Substitution IV7 for IVmaj7 eg F7 in C Major
|
||||
Dorian is the bridge between light and dark Borrowing the IV7 the Oye Como Va chord adds a soulful jazzy grit It doesnt feel sad like a minor key but it doesnt feel naive like a major key Its the sound of an urban nightsophisticated rhythmic and slightly mysterious
|
||||
4 The Aeolian Storm Clouds Epic Drama
|
||||
|
||||
Chunk — Key of F
|
||||
F Lydian Parallel Mode of F (Brightest): F, G, A, B, C, D, E (Major with a sharp 4th)
|
||||
F Ionian Parallel Mode of F (Major): F, G, A, Bb, C, D, E (Natural Major)
|
||||
F Mixolydian Parallel Mode of F: F, G, A, Bb, C, D, Eb (Major with a flat 7th)
|
||||
F Dorian Parallel Mode of F: F, G, Ab, Bb, C, D, Eb (Minor with a sharp 6th)
|
||||
F Aeolian Parallel Mode of F (Minor): F, G, Ab, Bb, C, Db, Eb (Natural Minor)
|
||||
F Phrygian Parallel Mode of F: F, Gb, Ab, Bb, C, Db, Eb (Minor with a flat 2nd)
|
||||
F Locrian Parallel Mode of F (Darkest): F, Gb, Ab, Bb, Cb, Db, Eb (Minor with a flat 2nd and 5th)
|
||||
The Substitution VImaj7 or IIImaj7 eg Abmaj7 or Ebmaj7 in C Major
|
||||
Now we are moving into the True Minor territory These chords provide the massive cinematic weight found in power ballads and hard rock The VI Abmaj7 in particular feels like a sudden shift in the windits dramatic heavy and carries a sense of gravity and grand scale
|
||||
5 The Phrygian Eclipse The Darkest Depth
|
||||
|
||||
Chunk — Key of F#
|
||||
F# Lydian Parallel Mode of F# (Brightest): F#, G#, A#, B#, C#, D#, E# (Major with a sharp 4th)
|
||||
F# Ionian Parallel Mode of F# (Major): F#, G#, A#, B, C#, D#, E# (Natural Major)
|
||||
F# Mixolydian Parallel Mode of F#: F#, G#, A#, B, C#, D#, E (Major with a flat 7th)
|
||||
F# Dorian Parallel Mode of F#: F#, G#, A, B, C#, D#, E (Minor with a sharp 6th)
|
||||
F# Aeolian Parallel Mode of F# (Minor): F#, G#, A, B, C#, D, E (Natural Minor)
|
||||
F# Phrygian Parallel Mode of F#: F#, G, A, B, C#, D, E (Minor with a flat 2nd)
|
||||
F# Locrian Parallel Mode of F# (Darkest): F#, G, A, B, C, D, E (Minor with a flat 2nd and 5th)
|
||||
The Substitution IImaj7 for IImin7 eg Dbmaj7 for Dmin7
|
||||
This is the most extreme shift The II is exotic tense and almost uncomfortably dark It creates a sense of immediate danger or ancient mystery When you hear this in a song like Becks Bolero its the moment the sun disappears behind the clouds and the atmosphere becomes thick and heavy
|
||||
|
||||
Chunk — Key of G
|
||||
G Lydian Parallel Mode of G (Brightest): G, A, B, C#, D, E, F# (Major with a sharp 4th)
|
||||
G Ionian Parallel Mode of G (Major): G, A, B, C, D, E, F# (Natural Major)
|
||||
G Mixolydian Parallel Mode of G: G, A, B, C, D, E, F (Major with a flat 7th)
|
||||
G Dorian Parallel Mode of G: G, A, Bb, C, D, E, F (Minor with a sharp 6th)
|
||||
G Aeolian Parallel Mode of G (Minor): G, A, Bb, C, D, Eb, F (Natural Minor)
|
||||
G Phrygian Parallel Mode of G: G, Ab, Bb, C, D, Eb, F (Minor with a flat 2nd)
|
||||
G Locrian Parallel Mode of G (Darkest): G, Ab, Bb, C, Db, Eb, F (Minor with a flat 2nd and 5th)
|
||||
From Parallel Dorian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
|
||||
From Parallel Dorian In the key of C major you can substitute or borrow IV7 for IVmaj7 for example F7 for Fmaj7.
|
||||
From Parallel Phrygian In the key of C major you can substitute or borrow bIImaj7 for IImin7 for example Dbmaj7 for Dmin7.
|
||||
From Parallel Phrygian In the key of C major you can substitute or borrow bVIImin7 for VIImin7b5 for example Bbmin7 for Bmin7b5.
|
||||
From Parallel Lydian In the key of C major you can substitute or borrow II7 for IImin7 for example D7 for Dmin7.
|
||||
From Parallel Mixolydian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
|
||||
From Parallel Mixolydian In the key of C major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Bbmaj7 for Bmin7b5.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow IImin7b5 for IImin7 for example Dmin7b5 for Dmin7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow bIIImaj7 for IIImin7 for example Ebmaj7 for Emin7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow IVmin7 for IVmaj7 for example Fmin7 for Fmaj7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow bVImaj7 for VImin7 for example Abmaj7 for Amin7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow bVII7 for VIImin7b5 for example Bb7 for Bmin7b5.
|
||||
|
||||
Chunk — Key of Ab
|
||||
Ab Lydian Parallel Mode of Ab (Brightest): Ab, Bb, C, D, Eb, F, G (Major with a sharp 4th)
|
||||
Ab Ionian Parallel Mode of Ab (Major): Ab, Bb, C, Db, Eb, F, G (Natural Major)
|
||||
Ab Mixolydian Parallel Mode of Ab: Ab, Bb, C, Db, Eb, F, Gb (Major with a flat 7th)
|
||||
Ab Dorian Parallel Mode of Ab: Ab, Bb, Cb, Db, Eb, F, Gb (Minor with a sharp 6th)
|
||||
Ab Aeolian Parallel Mode of Ab (Minor): Ab, Bb, Cb, Db, Eb, Fb, Gb (Natural Minor)
|
||||
Ab Phrygian Parallel Mode of Ab: Ab, Bbb, Cb, Db, Eb, Fb, Gb (Minor with a flat 2nd)
|
||||
Ab Locrian Parallel Mode of Ab (Darkest): Ab, Bbb, Cb, Db, Ebb, Fb, Gb (Minor with a flat 2nd and 5th)
|
||||
From Parallel Dorian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
|
||||
From Parallel Dorian In the key of C major you can substitute or borrow IV7 for IVmaj7 for example F7 for Fmaj7.
|
||||
From Parallel Phrygian In the key of C major you can substitute or borrow bIImaj7 for IImin7 for example Dmaj7 for Dmin7.
|
||||
From Parallel Phrygian In the key of C major you can substitute or borrow bVIImin7 for VIImin7b5 for example Bmin7 for Bmin7b5.
|
||||
From Parallel Lydian In the key of C major you can substitute or borrow II7 for IImin7 for example D7 for Dmin7.
|
||||
From Parallel Mixolydian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
|
||||
From Parallel Mixolydian In the key of C major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Bmaj7 for Bmin7b5.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow IImin7b5 for IImin7 for example Dmin7b5 for Dmin7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow bIIImaj7 for IIImin7 for example Emaj7 for Emin7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow IVmin7 for IVmaj7 for example Fmin7 for Fmaj7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow bVImaj7 for VImin7 for example Amaj7 for Amin7.
|
||||
From Parallel Aeolian In the key of C major you can substitute or borrow bVII7 for VIImin7b5 for example B7 for Bmin7b5.
|
||||
|
||||
Chunk — Key of A
|
||||
A Lydian Parallel Mode of A (Brightest): A, B, C#, D#, E, F#, G# (Major with a sharp 4th)
|
||||
A Ionian Parallel Mode of A (Major): A, B, C#, D, E, F#, G# (Natural Major)
|
||||
A Mixolydian Parallel Mode of A: A, B, C#, D, E, F#, G (Major with a flat 7th)
|
||||
A Dorian Parallel Mode of A: A, B, C, D, E, F#, G (Minor with a sharp 6th)
|
||||
A Aeolian Parallel Mode of A (Minor): A, B, C, D, E, F, G (Natural Minor)
|
||||
A Phrygian Parallel Mode of A: A, Bb, C, D, E, F, G (Minor with a flat 2nd)
|
||||
A Locrian Parallel Mode of A (Darkest): A, Bb, C, D, Eb, F, G (Minor with a flat 2nd and 5th)
|
||||
From Parallel Dorian In the key of Db major you can substitute or borrow Imin7 for Imaj7 for example Dbmin7 for Dbmaj7.
|
||||
From Parallel Dorian In the key of Db major you can substitute or borrow IV7 for IVmaj7 for example Gb7 for Gbmaj7.
|
||||
From Parallel Phrygian In the key of Db major you can substitute or borrow bIImaj7 for IImin7 for example Ebbmaj7 for Ebmin7.
|
||||
From Parallel Phrygian In the key of Db major you can substitute or borrow bVIImin7 for VIImin7b5 for example Cbmin7 for Cmin7b5.
|
||||
From Parallel Lydian In the key of Db major you can substitute or borrow II7 for IImin7 for example Eb7 for Ebmin7.
|
||||
From Parallel Mixolydian In the key of Db major you can substitute or borrow Vmin7 for V7 for example Abmin7 for Ab7.
|
||||
From Parallel Mixolydian In the key of Db major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Cbmaj7 for Cmin7b5.
|
||||
From Parallel Aeolian In the key of Db major you can substitute or borrow Imin7 for Imaj7 for example Dbmin7 for Dbmaj7.
|
||||
From Parallel Aeolian In the key of Db major you can substitute or borrow IImin7b5 for IImin7 for example Ebmin7b5 for Ebmin7.
|
||||
From Parallel Aeolian In the key of Db major you can substitute or borrow bIIImaj7 for IIImin7 for example Fbmaj7 for Fmin7.
|
||||
From Parallel Aeolian In the key of Db major you can substitute or borrow IVmin7 for IVmaj7 for example Gbmin7 for Gbmaj7.
|
||||
From Parallel Aeolian In the key of Db major you can substitute or borrow Vmin7 for V7 for example Abmin7 for Ab7.
|
||||
From Parallel Aeolian In the key of Db major you can substitute or borrow bVImaj7 for VImin7 for example Bbbmaj7 for Bbmin7.
|
||||
From Parallel Aeolian In the key of Db major you can substitute or borrow bVII7 for VIImin7b5 for example Cb7 for Cmin7b5.
|
||||
|
||||
Chunk — Key of Bb
|
||||
Bb Lydian Parallel Mode of Bb (Brightest): Bb, C, D, E, F, G, A (Major with a sharp 4th)
|
||||
Bb Ionian Parallel Mode of Bb (Major): Bb, C, D, Eb, F, G, A (Natural Major)
|
||||
Bb Mixolydian Parallel Mode of Bb: Bb, C, D, Eb, F, G, Ab (Major with a flat 7th)
|
||||
Bb Dorian Parallel Mode of Bb: Bb, C, Db, Eb, F, G, Ab (Minor with a sharp 6th)
|
||||
Bb Aeolian Parallel Mode of Bb (Minor): Bb, C, Db, Eb, F, Gb, Ab (Natural Minor)
|
||||
Bb Phrygian Parallel Mode of Bb: Bb, Cb, Db, Eb, F, Gb, Ab (Minor with a flat 2nd)
|
||||
Bb Locrian Parallel Mode of Bb (Darkest): Bb, Cb, Db, Eb, Fb, Gb, Ab (Minor with a flat 2nd and 5th)
|
||||
From Parallel Dorian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
|
||||
From Parallel Dorian In the key of D major you can substitute or borrow IV7 for IVmaj7 for example G7 for Gmaj7.
|
||||
From Parallel Phrygian In the key of D major you can substitute or borrow bIImaj7 for IImin7 for example Ebmaj7 for Emin7.
|
||||
From Parallel Phrygian In the key of D major you can substitute or borrow bVIImin7 for VIImin7b5 for example Cmin7 for Cmin7b5.
|
||||
From Parallel Lydian In the key of D major you can substitute or borrow II7 for IImin7 for example E7 for Emin7.
|
||||
From Parallel Mixolydian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
|
||||
From Parallel Mixolydian In the key of D major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Cmaj7 for Cmin7b5.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow IImin7b5 for IImin7 for example Emin7b5 for Emin7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow bIIImaj7 for IIImin7 for example Fmaj7 for Fmin7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow IVmin7 for IVmaj7 for example Gmin7 for Gmaj7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow bVImaj7 for VImin7 for example Bbmaj7 for Bmin7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow bVII7 for VIImin7b5 for example C7 for Cmin7b5.
|
||||
|
||||
Chunk — Key of B
|
||||
B Lydian Parallel Mode of B (Brightest): B, C#, D#, E#, F#, G#, A# (Major with a sharp 4th)
|
||||
B Ionian Parallel Mode of B (Major): B, C#, D#, E, F#, G#, A# (Natural Major)
|
||||
B Mixolydian Parallel Mode of B: B, C#, D#, E, F#, G#, A (Major with a flat 7th)
|
||||
B Dorian Parallel Mode of B: B, C#, D, E, F#, G#, A (Minor with a sharp 6th)
|
||||
B Aeolian Parallel Mode of B (Minor): B, C#, D, E, F#, G, A (Natural Minor)
|
||||
B Phrygian Parallel Mode of B: B, C, D, E, F#, G, A (Minor with a flat 2nd)
|
||||
B Locrian Parallel Mode of B (Darkest): B, C, D, E, F, G, A (Minor with a flat 2nd and 5th)
|
||||
From Parallel Dorian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
|
||||
From Parallel Dorian In the key of D major you can substitute or borrow IV7 for IVmaj7 for example G7 for Gmaj7.
|
||||
From Parallel Phrygian In the key of D major you can substitute or borrow bIImaj7 for IImin7 for example Emaj7 for Emin7.
|
||||
From Parallel Phrygian In the key of D major you can substitute or borrow bVIImin7 for VIImin7b5 for example Cmin7 for Cmin7b5.
|
||||
From Parallel Lydian In the key of D major you can substitute or borrow II7 for IImin7 for example E7 for Emin7.
|
||||
From Parallel Mixolydian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
|
||||
From Parallel Mixolydian In the key of D major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Cmaj7 for Cmin7b5.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow IImin7b5 for IImin7 for example Emin7b5 for Emin7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow bIIImaj7 for IIImin7 for example Fmaj7 for Fmin7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow IVmin7 for IVmaj7 for example Gmin7 for Gmaj7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow bVImaj7 for VImin7 for example Bmaj7 for Bmin7.
|
||||
From Parallel Aeolian In the key of D major you can substitute or borrow bVII7 for VIImin7b5 for example C7 for Cmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of Eb major you can substitute or borrow Imin7 for Imaj7 for example Ebmin7 for Ebmaj7.
|
||||
From Parallel Dorian In the key of Eb major you can substitute or borrow IV7 for IVmaj7 for example Ab7 for Abmaj7.
|
||||
From Parallel Phrygian In the key of Eb major you can substitute or borrow bIImaj7 for IImin7 for example Fbmaj7 for Fmin7.
|
||||
From Parallel Phrygian In the key of Eb major you can substitute or borrow bVIImin7 for VIImin7b5 for example Dbmin7 for Dmin7b5.
|
||||
From Parallel Lydian In the key of Eb major you can substitute or borrow II7 for IImin7 for example F7 for Fmin7.
|
||||
From Parallel Mixolydian In the key of Eb major you can substitute or borrow Vmin7 for V7 for example Bbmin7 for Bb7.
|
||||
From Parallel Mixolydian In the key of Eb major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Dbmaj7 for Dmin7b5.
|
||||
From Parallel Aeolian In the key of Eb major you can substitute or borrow Imin7 for Imaj7 for example Ebmin7 for Ebmaj7.
|
||||
From Parallel Aeolian In the key of Eb major you can substitute or borrow IImin7b5 for IImin7 for example Fmin7b5 for Fmin7.
|
||||
From Parallel Aeolian In the key of Eb major you can substitute or borrow bIIImaj7 for IIImin7 for example Gbmaj7 for Gmin7.
|
||||
From Parallel Aeolian In the key of Eb major you can substitute or borrow IVmin7 for IVmaj7 for example Abmin7 for Abmaj7.
|
||||
From Parallel Aeolian In the key of Eb major you can substitute or borrow Vmin7 for V7 for example Bbmin7 for Bb7.
|
||||
From Parallel Aeolian In the key of Eb major you can substitute or borrow bVImaj7 for VImin7 for example Cbmaj7 for Cmin7.
|
||||
From Parallel Aeolian In the key of Eb major you can substitute or borrow bVII7 for VIImin7b5 for example Db7 for Dmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of E major you can substitute or borrow Imin7 for Imaj7 for example Emin7 for Emaj7.
|
||||
From Parallel Dorian In the key of E major you can substitute or borrow IV7 for IVmaj7 for example A7 for Amaj7.
|
||||
From Parallel Phrygian In the key of E major you can substitute or borrow bIImaj7 for IImin7 for example Fmaj7 for Fmin7.
|
||||
From Parallel Phrygian In the key of E major you can substitute or borrow bVIImin7 for VIImin7b5 for example Dmin7 for Dmin7b5.
|
||||
From Parallel Lydian In the key of E major you can substitute or borrow II7 for IImin7 for example F7 for Fmin7.
|
||||
From Parallel Mixolydian In the key of E major you can substitute or borrow Vmin7 for V7 for example Bmin7 for B7.
|
||||
From Parallel Mixolydian In the key of E major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Dmaj7 for Dmin7b5.
|
||||
From Parallel Aeolian In the key of E major you can substitute or borrow Imin7 for Imaj7 for example Emin7 for Emaj7.
|
||||
From Parallel Aeolian In the key of E major you can substitute or borrow IImin7b5 for IImin7 for example Fmin7b5 for Fmin7.
|
||||
From Parallel Aeolian In the key of E major you can substitute or borrow bIIImaj7 for IIImin7 for example Gmaj7 for Gmin7.
|
||||
From Parallel Aeolian In the key of E major you can substitute or borrow IVmin7 for IVmaj7 for example Amin7 for Amaj7.
|
||||
From Parallel Aeolian In the key of E major you can substitute or borrow Vmin7 for V7 for example Bmin7 for B7.
|
||||
From Parallel Aeolian In the key of E major you can substitute or borrow bVImaj7 for VImin7 for example Cmaj7 for Cmin7.
|
||||
From Parallel Aeolian In the key of E major you can substitute or borrow bVII7 for VIImin7b5 for example D7 for Dmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of F major you can substitute or borrow Imin7 for Imaj7 for example Fmin7 for Fmaj7.
|
||||
From Parallel Dorian In the key of F major you can substitute or borrow IV7 for IVmaj7 for example Bb7 for Bbmaj7.
|
||||
From Parallel Phrygian In the key of F major you can substitute or borrow bIImaj7 for IImin7 for example Gbmaj7 for Gmin7.
|
||||
From Parallel Phrygian In the key of F major you can substitute or borrow bVIImin7 for VIImin7b5 for example Ebmin7 for Emin7b5.
|
||||
From Parallel Lydian In the key of F major you can substitute or borrow II7 for IImin7 for example G7 for Gmin7.
|
||||
From Parallel Mixolydian In the key of F major you can substitute or borrow Vmin7 for V7 for example Cmin7 for C7.
|
||||
From Parallel Mixolydian In the key of F major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Ebmaj7 for Emin7b5.
|
||||
From Parallel Aeolian In the key of F major you can substitute or borrow Imin7 for Imaj7 for example Fmin7 for Fmaj7.
|
||||
From Parallel Aeolian In the key of F major you can substitute or borrow IImin7b5 for IImin7 for example Gmin7b5 for Gmin7.
|
||||
From Parallel Aeolian In the key of F major you can substitute or borrow bIIImaj7 for IIImin7 for example Abmaj7 for Amin7.
|
||||
From Parallel Aeolian In the key of F major you can substitute or borrow IVmin7 for IVmaj7 for example Bbmin7 for Bbmaj7.
|
||||
From Parallel Aeolian In the key of F major you can substitute or borrow Vmin7 for V7 for example Cmin7 for C7.
|
||||
From Parallel Aeolian In the key of F major you can substitute or borrow bVImaj7 for VImin7 for example Dbmaj7 for Dmin7.
|
||||
From Parallel Aeolian In the key of F major you can substitute or borrow bVII7 for VIImin7b5 for example Eb7 for Emin7b5.
|
||||
|
||||
From Parallel Dorian In the key of Gb major you can substitute or borrow Imin7 for Imaj7 for example Gbmin7 for Gbmaj7.
|
||||
From Parallel Dorian In the key of Gb major you can substitute or borrow IV7 for IVmaj7 for example Cbb7 for Cbmaj7.
|
||||
From Parallel Phrygian In the key of Gb major you can substitute or borrow bIImaj7 for IImin7 for example Abbmaj7 for Abmin7.
|
||||
From Parallel Phrygian In the key of Gb major you can substitute or borrow bVIImin7 for VIImin7b5 for example Fmin7 for Fmin7b5.
|
||||
From Parallel Lydian In the key of Gb major you can substitute or borrow II7 for IImin7 for example Ab7 for Abmin7.
|
||||
From Parallel Mixolydian In the key of Gb major you can substitute or borrow Vmin7 for V7 for example Dbmin7 for Db7.
|
||||
From Parallel Mixolydian In the key of Gb major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Fbmaj7 for Fmin7b5.
|
||||
From Parallel Aeolian In the key of Gb major you can substitute or borrow Imin7 for Imaj7 for example Gbmin7 for Gbmaj7.
|
||||
From Parallel Aeolian In the key of Gb major you can substitute or borrow IImin7b5 for IImin7 for example Abmin7b5 for Abmin7.
|
||||
From Parallel Aeolian In the key of Gb major you can substitute or borrow bIIImaj7 for IIImin7 for example Bbbmaj7 for Bbmin7.
|
||||
From Parallel Aeolian In the key of Gb major you can substitute or borrow IVmin7 for IVmaj7 for example Cbbmin7 for Cbmaj7.
|
||||
From Parallel Aeolian In the key of Gb major you can substitute or borrow Vmin7 for V7 for example Dbbmin7 for Db7.
|
||||
From Parallel Aeolian In the key of Gb major you can substitute or borrow bVImaj7 for VImin7 for example Ebbbmaj7 for Ebmin7.
|
||||
From Parallel Aeolian In the key of Gb major you can substitute or borrow bVII7 for VIImin7b5 for example F7 for Fmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
|
||||
From Parallel Dorian In the key of G major you can substitute or borrow IV7 for IVmaj7 for example C7 for Cmaj7.
|
||||
From Parallel Phrygian In the key of G major you can substitute or borrow bIImaj7 for IImin7 for example Abmaj7 for Amin7.
|
||||
From Parallel Phrygian In the key of G major you can substitute or borrow bVIImin7 for VIImin7b5 for example Fmin7 for Fmin7b5.
|
||||
From Parallel Lydian In the key of G major you can substitute or borrow II7 for IImin7 for example A7 for Amin7.
|
||||
From Parallel Mixolydian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
|
||||
From Parallel Mixolydian In the key of G major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Fmaj7 for Fmin7b5.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow IImin7b5 for IImin7 for example Amin7b5 for Amin7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow bIIImaj7 for IIImin7 for example Bbmaj7 for Bmin7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow IVmin7 for IVmaj7 for example Cmin7 for Cmaj7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow bVImaj7 for VImin7 for example Ebmaj7 for Emin7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow bVII7 for VIImin7b5 for example F7 for Fmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
|
||||
From Parallel Dorian In the key of G major you can substitute or borrow IV7 for IVmaj7 for example C7 for Cmaj7.
|
||||
From Parallel Phrygian In the key of G major you can substitute or borrow bIImaj7 for IImin7 for example Amaj7 for Amin7.
|
||||
From Parallel Phrygian In the key of G major you can substitute or borrow bVIImin7 for VIImin7b5 for example Fmin7 for Fmin7b5.
|
||||
From Parallel Lydian In the key of G major you can substitute or borrow II7 for IImin7 for example A7 for Amin7.
|
||||
From Parallel Mixolydian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
|
||||
From Parallel Mixolydian In the key of G major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Fmaj7 for Fmin7b5.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow IImin7b5 for IImin7 for example Amin7b5 for Amin7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow bIIImaj7 for IIImin7 for example Bmaj7 for Bmin7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow IVmin7 for IVmaj7 for example Cmin7 for Cmaj7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow bVImaj7 for VImin7 for example Emaj7 for Emin7.
|
||||
From Parallel Aeolian In the key of G major you can substitute or borrow bVII7 for VIImin7b5 for example F7 for Fmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of Ab major you can substitute or borrow Imin7 for Imaj7 for example Abmin7 for Abmaj7.
|
||||
From Parallel Dorian In the key of Ab major you can substitute or borrow IV7 for IVmaj7 for example Db7 for Dbmaj7.
|
||||
From Parallel Phrygian In the key of Ab major you can substitute or borrow bIImaj7 for IImin7 for example Bbbmaj7 for Bbmin7.
|
||||
From Parallel Phrygian In the key of Ab major you can substitute or borrow bVIImin7 for VIImin7b5 for example Gmin7 for Gmin7b5.
|
||||
From Parallel Lydian In the key of Ab major you can substitute or borrow II7 for IImin7 for example Bb7 for Bbmin7.
|
||||
From Parallel Mixolydian In the key of Ab major you can substitute or borrow Vmin7 for V7 for example Ebmin7 for Eb7.
|
||||
From Parallel Mixolydian In the key of Ab major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Gbmaj7 for Gmin7b5.
|
||||
From Parallel Aeolian In the key of Ab major you can substitute or borrow Imin7 for Imaj7 for example Abmin7 for Abmaj7.
|
||||
From Parallel Aeolian In the key of Ab major you can substitute or borrow IImin7b5 for IImin7 for example Bbmin7b5 for Bbmin7.
|
||||
From Parallel Aeolian In the key of Ab major you can substitute or borrow bIIImaj7 for IIImin7 for example Cbmaj7 for Cmin7.
|
||||
From Parallel Aeolian In the key of Ab major you can substitute or borrow IVmin7 for IVmaj7 for example Dbmin7 for Dbmaj7.
|
||||
From Parallel Aeolian In the key of Ab major you can substitute or borrow Vmin7 for V7 for example Ebmin7 for Eb7.
|
||||
From Parallel Aeolian In the key of Ab major you can substitute or borrow bVImaj7 for VImin7 for example Fbmaj7 for Fmin7.
|
||||
From Parallel Aeolian In the key of Ab major you can substitute or borrow bVII7 for VIImin7b5 for example Gb7 for Gmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of A major you can substitute or borrow Imin7 for Imaj7 for example Amin7 for Amaj7.
|
||||
From Parallel Dorian In the key of A major you can substitute or borrow IV7 for IVmaj7 for example D7 for Dmaj7.
|
||||
From Parallel Phrygian In the key of A major you can substitute or borrow bIImaj7 for IImin7 for example Bbmaj7 for Bmin7.
|
||||
From Parallel Phrygian In the key of A major you can substitute or borrow bVIImin7 for VIImin7b5 for example Gmin7 for Gmin7b5.
|
||||
From Parallel Lydian In the key of A major you can substitute or borrow II7 for IImin7 for example B7 for Bmin7.
|
||||
From Parallel Mixolydian In the key of A major you can substitute or borrow Vmin7 for V7 for example Emin7 for E7.
|
||||
From Parallel Mixolydian In the key of A major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Gmaj7 for Gmin7b5.
|
||||
From Parallel Aeolian In the key of A major you can substitute or borrow Imin7 for Imaj7 for example Amin7 for Amaj7.
|
||||
From Parallel Aeolian In the key of A major you can substitute or borrow IImin7b5 for IImin7 for example Bmin7b5 for Bmin7.
|
||||
From Parallel Aeolian In the key of A major you can substitute or borrow bIIImaj7 for IIImin7 for example Cmaj7 for Cmin7.
|
||||
From Parallel Aeolian In the key of A major you can substitute or borrow IVmin7 for IVmaj7 for example Dmin7 for Dmaj7.
|
||||
From Parallel Aeolian In the key of A major you can substitute or borrow Vmin7 for V7 for example Emin7 for E7.
|
||||
From Parallel Aeolian In the key of A major you can substitute or borrow bVImaj7 for VImin7 for example Fmaj7 for Fmin7.
|
||||
From Parallel Aeolian In the key of A major you can substitute or borrow bVII7 for VIImin7b5 for example G7 for Gmin7b5.
|
||||
|
||||
From Parallel Dorian In the key of Bb major you can substitute or borrow Imin7 for Imaj7 for example Bbmin7 for Bbmaj7.
|
||||
From Parallel Dorian In the key of Bb major you can substitute or borrow IV7 for IVmaj7 for example Eb7 for Ebmaj7.
|
||||
From Parallel Phrygian In the key of Bb major you can substitute or borrow bIImaj7 for IImin7 for example Cbmaj7 for Cmin7.
|
||||
From Parallel Phrygian In the key of Bb major you can substitute or borrow bVIImin7 for VIImin7b5 for example Abmin7 for Amin7b5.
|
||||
From Parallel Lydian In the key of Bb major you can substitute or borrow II7 for IImin7 for example C7 for Cmin7.
|
||||
From Parallel Mixolydian In the key of Bb major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
|
||||
From Parallel Mixolydian In the key of Bb major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Abmaj7 for Amin7b5.
|
||||
From Parallel Aeolian In the key of Bb major you can substitute or borrow Imin7 for Imaj7 for example Bbmin7 for Bbmaj7.
|
||||
From Parallel Aeolian In the key of Bb major you can substitute or borrow IImin7b5 for IImin7 for example Cmin7b5 for Cmin7.
|
||||
From Parallel Aeolian In the key of Bb major you can substitute or borrow bIIImaj7 for IIImin7 for example Dbmaj7 for Dmin7.
|
||||
From Parallel Aeolian In the key of Bb major you can substitute or borrow IVmin7 for IVmaj7 for example Ebmin7 for Ebmaj7.
|
||||
From Parallel Aeolian In the key of Bb major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
|
||||
From Parallel Aeolian In the key of Bb major you can substitute or borrow bVImaj7 for VImin7 for example Gbmaj7 for Gmin7.
|
||||
From Parallel Aeolian In the key of Bb major you can substitute or borrow bVII7 for VIImin7b5 for example Ab7 for Amin7b5.
|
||||
|
||||
|
||||
From Parallel Dorian In the key of B major you can substitute or borrow Imin7 for Imaj7 for example Bmin7 for Bmaj7.
|
||||
From Parallel Dorian In the key of B major you can substitute or borrow IV7 for IVmaj7 for example E7 for Emaj7.
|
||||
From Parallel Phrygian In the key of B major you can substitute or borrow bIImaj7 for IImin7 for example Cmaj7 for Cmin7.
|
||||
From Parallel Phrygian In the key of B major you can substitute or borrow bVIImin7 for VIImin7b5 for example Amin7 for Amin7b5.
|
||||
From Parallel Lydian In the key of B major you can substitute or borrow II7 for IImin7 for example C7 for Cmin7.
|
||||
From Parallel Mixolydian In the key of B major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
|
||||
From Parallel Mixolydian In the key of B major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Amaj7 for Amin7b5.
|
||||
From Parallel Aeolian In the key of B major you can substitute or borrow Imin7 for Imaj7 for example Bmin7 for Bmaj7.
|
||||
From Parallel Aeolian In the key of B major you can substitute or borrow IImin7b5 for IImin7 for example Cmin7b5 for Cmin7.
|
||||
From Parallel Aeolian In the key of B major you can substitute or borrow bIIImaj7 for IIImin7 for example Dmaj7 for Dmin7.
|
||||
From Parallel Aeolian In the key of B major you can substitute or borrow IVmin7 for IVmaj7 for example Emin7 for Emaj7.
|
||||
From Parallel Aeolian In the key of B major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
|
||||
From Parallel Aeolian In the key of B major you can substitute or borrow bVImaj7 for VImin7 for example Gmaj7 for Gmin7.
|
||||
From Parallel Aeolian In the key of B major you can substitute or borrow bVII7 for VIImin7b5 for example A7 for Amin7b5.
|
||||
|
||||
@@ -1,8 +1,8 @@
|
||||
TITLE: Mode Interval Formulas
|
||||
TITLE: Mode Formulas
|
||||
DOMAIN: Music Theory
|
||||
CONCEPTS: modes, interval formula, whole step, half step, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, scale construction, W H pattern, construct scale, build scale, apply formula, starting note, root note
|
||||
CONTENT TYPE: Reference
|
||||
---
|
||||
TYPE: reference
|
||||
PRIORITY: medium
|
||||
|
||||
W means whole step also called a tone or T. H means half step also called a semitone or S. W and T are equivalent. H and S are equivalent. A whole step equals 2 semitones. A half step equals 1 semitone. W means whole step and H means half step in mode interval formulas. To construct any modal scale choose a starting note and apply each interval step in the formula in sequence to arrive at the next note.
|
||||
|
||||
|
||||
@@ -5,61 +5,58 @@ PRIORITY: high
|
||||
CONCEPTS: modes, scales, ionian, dorian, phrygian, lydian, mixolydian, aeolian, locrian, diatonic scales, major scale, minor scale, intervals, scale degrees
|
||||
SCOPE: modal_theory
|
||||
|
||||
|
||||
Mode Scale Reference
|
||||
|
||||
All modes below are 7 note scales.
|
||||
These are full modal scales and NOT pentatonic scales.
|
||||
All modes listed are 7-note diatonic scales. Each mode is shown as a complete pitch collection for specific root notes.
|
||||
|
||||
---
|
||||
|
||||
Ionian Mode (Major Scale)
|
||||
IONIAN MODE (Major Scale)
|
||||
|
||||
A Ionian scale (7 notes): A B C# D E F# G#
|
||||
C Ionian scale (7 notes): C D E F G A B
|
||||
G Ionian scale (7 notes): G A B C D E F#
|
||||
C Ionian: C D E F G A B
|
||||
G Ionian: G A B C D E F#
|
||||
A Ionian: A B C# D E F# G#
|
||||
|
||||
---
|
||||
|
||||
Dorian Mode (minor with raised 6th)
|
||||
DORIAN MODE (minor with raised 6th)
|
||||
|
||||
A Dorian scale (7 notes): A B C D E F# G
|
||||
D Dorian scale (7 notes): D E F G A B C
|
||||
G Dorian scale (7 notes): G A Bb C D E F
|
||||
E Dorian scale (7 notes): E F# G A B C# D
|
||||
C Dorian scale (7 notes): C D Eb F G A Bb
|
||||
D Dorian: D E F G A B C
|
||||
A Dorian: A B C D E F# G
|
||||
E Dorian: E F# G A B C# D
|
||||
G Dorian: G A Bb C D E F
|
||||
C Dorian: C D Eb F G A Bb
|
||||
|
||||
---
|
||||
|
||||
Phrygian Mode (minor with lowered 2nd)
|
||||
PHRYGIAN MODE (minor with lowered 2nd)
|
||||
|
||||
A Phrygian scale (7 notes): A Bb C D E F G
|
||||
E Phrygian scale (7 notes): E F G A B C D
|
||||
E Phrygian: E F G A B C D
|
||||
A Phrygian: A Bb C D E F G
|
||||
|
||||
---
|
||||
|
||||
Lydian Mode (major with raised 4th)
|
||||
LYDIAN MODE (major with raised 4th)
|
||||
|
||||
C Lydian scale (7 notes): C D E F# G A B
|
||||
A Lydian scale (7 notes): A B C# D# E F# G#
|
||||
C Lydian: C D E F# G A B
|
||||
A Lydian: A B C# D# E F# G#
|
||||
|
||||
---
|
||||
|
||||
Mixolydian Mode (major with lowered 7th)
|
||||
MIXOLYDIAN MODE (major with lowered 7th)
|
||||
|
||||
A Mixolydian scale (7 notes): A B C# D E F# G
|
||||
G Mixolydian scale (7 notes): G A B C D E F
|
||||
G Mixolydian: G A B C D E F
|
||||
A Mixolydian: A B C# D E F# G
|
||||
|
||||
---
|
||||
|
||||
Aeolian Mode (Natural Minor)
|
||||
AEOLIAN MODE (Natural Minor)
|
||||
|
||||
A Aeolian scale (7 notes): A B C D E F G
|
||||
E Aeolian scale (7 notes): E F# G A B C D
|
||||
A Aeolian: A B C D E F G
|
||||
E Aeolian: E F# G A B C D
|
||||
|
||||
---
|
||||
|
||||
Locrian Mode (diminished scale)
|
||||
LOCRIAN MODE (diminished / flattened 2nd and 5th)
|
||||
|
||||
A Locrian scale (7 notes): A Bb C D Eb F G
|
||||
B Locrian scale (7 notes): B C D E F G A
|
||||
B Locrian: B C D E F G A
|
||||
A Locrian: A Bb C D Eb F G
|
||||
|
||||
@@ -6,37 +6,35 @@ CONCEPTS: intervals, whole step, half step, semitones, scale construction, modes
|
||||
SCOPE: scale_construction
|
||||
|
||||
Mode Interval Definitions
|
||||
W = whole step = 2 semitones
|
||||
H = half step = 1 semitone
|
||||
A whole step (W) equals 2 semitones. A half step (H) equals 1 semitone.
|
||||
|
||||
Scale Construction Rule
|
||||
To construct a scale start on a root note and apply the interval formula step by step.
|
||||
To construct any mode, begin on a root note and apply the interval formula step by step in sequence. Each interval determines the distance to the next note in the scale.
|
||||
|
||||
Ionian
|
||||
Formula: W W H W W W H
|
||||
Description: major scale
|
||||
Ionian Mode (Major Scale)
|
||||
The Ionian mode follows the interval pattern W W H W W W H. It is the standard major scale.
|
||||
Example: C Ionian = C D E F G A B.
|
||||
|
||||
Dorian
|
||||
Formula: W H W W W H W
|
||||
Description: minor with raised sixth
|
||||
Dorian Mode
|
||||
The Dorian mode follows the interval pattern W H W W W H W. It is a minor-type scale with a raised sixth compared to the natural minor scale.
|
||||
Example: D Dorian = D E F G A B C.
|
||||
|
||||
Phrygian
|
||||
Formula: H W W W H W W
|
||||
Description: minor with lowered second
|
||||
Phrygian Mode
|
||||
The Phrygian mode follows the interval pattern H W W W H W W. It is a minor-type scale with a lowered second, giving it a darker sound.
|
||||
Example: E Phrygian = E F G A B C D.
|
||||
|
||||
Lydian
|
||||
Formula: W W W H W W H
|
||||
Description: major with raised fourth
|
||||
Lydian Mode
|
||||
The Lydian mode follows the interval pattern W W W H W W H. It is a major-type scale with a raised fourth.
|
||||
Example: F Lydian = F G A B C D E.
|
||||
|
||||
Mixolydian
|
||||
Formula: W W H W W H W
|
||||
Description: major with lowered seventh
|
||||
Mixolydian Mode
|
||||
The Mixolydian mode follows the interval pattern W W H W W H W. It is a major-type scale with a lowered seventh.
|
||||
Example: G Mixolydian = G A B C D E F.
|
||||
|
||||
Aeolian
|
||||
Formula: W H W W H W W
|
||||
Description: natural minor
|
||||
|
||||
Locrian
|
||||
Formula: H W W H W W W
|
||||
Description: diminished with lowered second and fifth
|
||||
Aeolian Mode (Natural Minor)
|
||||
The Aeolian mode follows the interval pattern W H W W H W W. It is the natural minor scale.
|
||||
Example: A Aeolian = A B C D E F G.
|
||||
|
||||
Locrian Mode
|
||||
The Locrian mode follows the interval pattern H W W H W W W. It is a diminished-type scale with a lowered second and lowered fifth.
|
||||
Example: B Locrian = B C D E F G A.
|
||||
|
||||
Reference in New Issue
Block a user