Re: Answer--quick question about nomenclature and modes (LONG)

[BarMusProd <BarMusProd...>]

Dear Koby,

In a message dated 12/7/00 6:02:21 PM, kchodosh (at) 
suffolk(dot)lib(dot)ny(dot)us writes:

>My music theory teacher couldn't explain this at all, and the textbook
>makes no sense, so I'll ask you folks...
>
>if you play "D E F G A B C D" (with no accidentals)
>
>is that a "D Dorian" scale
>or a "C Dorian" scale?
>
The easy answer is that D to D on the white keys *is* the Dorian Mode. The 
term "Mode" is essentially equal to the term "scale," but is usually used in 
reference to the seven traditional Church modes built on the white keys of 
the piano: C to C=Ionian Mode (which is the same as the Major Scale), D to 
D=Dorian Mode, E to E=Phrygian Mode, F to F=Lydian Mode, G to G=Mixolydian 
Mode, A to A=Aeolian Mode (which is the same as the "natural minor scale" by 
the way), B to B=Locrian Mode.

The more educational answer is that any scale or mode is made up of a series 
of intervals. A Major scale is made of whole and half steps in a specific 
order (ascending it is: whole, whole, half, whole, whole, whole, half). The 
reason we use "accidentals" or different key signatures is that they allow us 
to create this same series of intervals between any set of seven pitches 
within an octave. 

Say you wanted a Major scale from D to D. You probably know already that the 
key signature for D Major is two sharps. But maybe you haven't thought about 
why. If you played the scale of white notes from D to D you get the following 
set of intervals: whole, half, whole, whole, whole, half, whole. That is not 
the interval set of a Major scale (it is the interval set for Dorian 
Mode[!]), but something that sounds like natural minor with a slight 
difference. What do we have to do to that minor-sounding scale to make it 
conform to the Major scale interval set. By raising the third degree of the 
scale a half step (F to F#) and raising the 7th degree of the scale a half 
step (C to C#), we now have changed the Dorian Mode interval set to the D 
Major interval set. We have added two "accidentals": F# and C#, 
coincidentally the key signature of D Major.

Now do you get the idea? Every scale or mode has a specific set of intervals. 
By using accidentals (or a key signature), you can reproduce that set of 
intervals starting on any pitch of the scale.

You asked in your question whether D to D on the white notes is C Dorian. We 
know now that it is not. But you can have a Dorian Mode that goes from C to 
C. How do we achieve that? We know now that playing the white notes ascending 
from D to D creates the Dorian Mode without any added accidentals, and 
creates the following set of intervals: whole, half, whole, whole, whole, 
half, whole. What do we have to do to the white note intervals from C to C to 
make it conform to the Dorian set of intervals? If we lower the third degree 
of the scale by a half step (E to Eb) and the 7th degree of the scale by a 
half step (B to Bb) we have changed the Major scale interval pattern to the 
Dorian pattern. We now have a Dorian Mode transposed to C (or "Dorian Mode on 
C" as you asked).

Make sense? I hope so.

The way I learned the Church mode patterns is by comparing them to the Major 
and natural minor scale patterns (two scale interval patterns of whole and 
half steps that I already knew--C to C and A to A with no accidentals). Most 
of the modes are the same as either the Major or Natural minor scales with 
the change of *one* scale degree. So, Ionian Mode is the same as the Major 
Scale interval set--no changes, Dorian Mode is the same as natural minor with 
a raised 6th degree, Phrygian Mode is the same as natural minor with a 
lowered 2nd degree, Lydian Mode is the same as Major with a raised 4th 
degree, Mixolydian Mode is the same as major with a lowered 7th degree, 
Aeolian Mode is the same as natural minor scale--no changes), Locrian Mode is 
the same as natural minor with a lowered 2nd AND a lowered 5th degree.

I could go on (I'm a recovering theory teacher), but I think that's enough 
for "Modes 101." I'm sorry your teacher or your text could not explain this 
to you. Why don't you ask him or her again, saying that you need some more 
clarification. He or she may appreciate the feedback.

I hope that this was helpful. Good luck.

Best wishes,
Steve

Steve Barnett
Composer/Arranger/Producer
Barnett Music Productions
BarMusProd (at) aol(dot)com 

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