Re: Name that Mode!(Re: Jewish music connection w/ old jingle?)

[Joshua Horowitz <horowitz...>]

Hi Owen,

> That's the one!  I was put off at first by the wide interval between the 
> first and
> second degrees, until I played with it for a while.  I think of that C# not 
> as the
> second degree of the mode, but the flatted third.  

But if you stick a C in there, what do you do with the D that follows? I
think when you interpolate the C, you create another mode (Mi Shebarakh
or Nikriz, or Altered Dorian, as you wish) with a different set of
parameters (In the Mi shebarakh mode you have a sub-tonic tone group
which in this case would be: F G A Bb. This tone group doesn't exist in
the mode in question whereby the scale starts with Bb-C# but there seems
to be no sub-tonic group. 

> Greek music also sometimes uses the major
> seventh degree as another melodic "stepping stone," though the actual seventh 
> degree
> of the mode is quite clearly the minor seventh. 

Yes, if, by the major seventh note you mean BELOW the tonic, that's what
I mean. But that's Makam Nikriz, isn't it? 
  
>  Since the mode, in a scalar sense,
> remains the same across all the borders, physical and cultural, but in terms 
> of melodic use, is distinctly different in each ethnic group, it seems 
> logical to use each groups terminology when referring to it.  Pretty 
> convoluted sentence, huh?

I totally agree there on both counts, we should use local terminology
and your sentence was convoluted, but what if there is no Romanian term
for the mode? Josh

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