![]() ![]() As I said, I need to find another term to refer to this way to consider the intervalic structure as if it were one thing.Įssentially I'm trying to grab a 'scale' and combine it with all it's conjugate words (or circular shifts) and I don't know what to call this thing but I'm interested in it. Yea, but for some reason I don't think I could explain very well (which is a problem), I am trying to somehow consider all those 7 notes (and their 7 modes) as the same 'scale'. In the case of Yoda it then goes to major (I don't remember if it's a mode change or a modulation), while BTTF remains Lydian.ĭavid Bennett has videos on YouTube with many examples of songs for each mode. A lot of major pop songs are Mixolydian (all those that sound like Hey Jude, for example Sweet Child O'Mine).Īlso Lydian is quite common in soundtracks because it has a very "suspended" feeling (due to the lack of a dominant seventh chord that can resolve to the tonic), for example Yoda's theme and the Back to the Future theme are both Lydian. A lot of minor songs are actually Dorian (not all! a couple examples are Boulevard of Broken Dreams or Wicked Game) or in the case of metal Phrygian. Modes other than major or minor are very common in modern non-jazz music. :) I knew I was probably wrong but it seemed like an interesting observation. ![]() I think we can treat it as a reverse Turing test. had words that were consistent with the topic but a lot of inaccuracies. What fooled me was going from an entirely correct paragraph to one that. Now if you change the tonic to D, the scale is DEFGABC, or D Dorian. ![]() If you change the tonic to A, the scale is now ABCDEFG, or A Aeonian (much more frequently just called A minor). If you change the tonic without changing the notes in the scale, you are now playing in a different mode.įor example, if you started in C, playing the notes CDEFGAB, you are playing in C Ionian (much more frequently just called C Major). I think what you're trying to get at is that when you don't consider any note to be the tonic, and play freely in a set of seven notes, you can play more expressively. These scales are said to be relative to each other: Am is the relative minor of C. What you are describing, seven notes that do not 'start' anywhere, is the set of all scales that are enharmonic with a given scale, meaning they have all the same notes. C and Am have the same notes, but a different tonic, but they are different scales, so a scale is defined by the notes it contains and the mapping of scale degrees to those notes. If you are talking about a set of seven notes, that is not a scale. It's 4 AM over here now so I better cut it here but will comeback later and maybe answer some of the individual messages. Certainly a way to install via homebrew would help I believe. Since many of you expressed interest on it, I'll take a look at the problems you reported. Thank you all for the interest on the Gem/CLI project however. Possibly also a VST plugin version for DAWs. ![]() So I've been working, since around 3 years, on a multiplatform app. Now it's just a matter of finally implementing it. I have completed my (belayed) college degree on Graphic Design with my final project being this app's design. I've realized that while a Ruby gem might be cool for some applications, I really wanted to have something more visual and more inviting. Writing a Ruby Gem was a way of making sense of all that and at the same time making what I consider "music calculations".Ī lot has happened since then. When I started this 6 years ago, I was teaching myself harmony. My name is Pedro and I'm the creator of the mentioned project.įirst of all, I'm really grateful for all the feedback, positive and negative, about my project. ![]()
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