#mixolydian chords

[guitarguitarworld]

Jazz Fusion Chords:How to create them from scales

CLICK SUBSCRIBE! Hi Guys, Today, a look at how to create colourful and interesting jazz/fusion chords: Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian: Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops]. Now, we will add another note a 5th above the root and create…

[nightsealeafrainwing]

It’s be really cool if there was a device that read your mood and translated it to music in real time

[patricia-taxxon]

stopping by to say that i love how her breaker room is written. great track all around but the harmonic ambiguity with the chords very much in A and the bass kinda dragging it into E mixolydian is just delicious. those chords over the fm bell just pedaling B makes me go entirely feral. incredibly well done

Thanks! The first element in that song that I added were those really strangely voiced chord stabs in the builds, and the reason it's so strange is cus every note is doubled up with a fifth & a tenth and I improvised it purposefully messy. that harmonic ambiguity carried over into many of the other decisions in that track.

[oveliagirlhaditright]

But Green Requiem's video about the music in the Kingdom Hearts Chi saga--and about how most of it seems to very much be two different chords going on at the same time (if I am wrong and butchering music terms here, through this game of telephone, please forgive me [and know that Green Requiem got it right and I alone am the idiot]; I'm not a musician) has me so excited about what the music for what the rest of this new saga might be like, as Shimomura makes a new discography.

As Green Requiem pointed out, I wonder if the two chords thing going on, was because Shimomura knew beforehand that there was a double layer to Daybreak Town, so to speak: that Daybreak Town would become Scala ad Caelum.

I'm also loving the bit of mixolydian we've gotten so far (I say as someone who had no idea what that was until I watched this video). And Green Requiem wonders if Shimomura also knew that KHUX would eventually tie to Missing Link (and hey, even Dark Road), that would go more Norse in a lot of ways, and would perhaps even moreso fit with the mixolydian.

Already, the Kingdom Hearts Chi music is quite a bit set apart from what we got in the Dark Seeker Chronicles. And yet, there are of course a lot of things that connect to it, too. I love it!

Edit: Here's the KH Chi video I'm talking about.

[oh-tobeafrog]

fun music theory fact about the tma unknowing piece:

the piece is atonal, meaning it isn’t in any established key or mode. sooo…

in a tonal piece (which is most western music, and certainly most modern pop music and such), there’s normally a level of predictability because certain notes naturally want to go to other certain notes. your ear can recognize patterns, especially since you’ve often heard them before. in an atonal piece, the security of expectation is removed. they tend to be less predictable, and therefore a bit unsettling or confusing if you’re not used to it. dude thats SO characteristic of the unknowing.

also, for any music theory nerds out there, let me know if im wrong because it’s kind of hard to hear all the notes in the opening of 119. but from what i can tell the melody and chords revolve somewhere close to B mixolydian, while the harmony is continually playing parallel major thirds to the melody.

[automaticfrenchhorn]

Today's piece is a modal-inspired dance for horn quartet. My initial plan was to invert what I did in study no. 84, and write in the Dorian mode, with a melody in the relative Phrygian mode. To an extent it still does this, with a (written) C# melody over a B root, but this study's identity ending up being shaped by the ebb and flow between D natural and D sharp instead.

This study primarily oscillates between B minor and C# minor, the i to ii vamp being a distinctly "Dorian" sound. However, I found the Phyrigian D natural sound on the C# chord to be a bit too tense for my liking, so on a whim I replaced it with the natural 9th, D#, and found I much preferred this sound. Due to this, I don't think I would say this study in is B Dorian anymore, as it spends half of its time in B Mixolydian (or C# Aeolian, really). Instead, this modal oscillation became the driving force of the piece, with key moments that emphasize one or the other.

Beyond that, I continued with mostly modal writing, emphasising colour tones in the melody, usually by using tones from the C# chord over the B harmony, and vice versa.

The other main idea in this piece is the bracketed notes, functioning like a "reverse accent" where the players are to play them softer than the surrounding dynamic. I used this idea a little bit in study no. 108, but here it is much more of a prominent musical idea.

As always, these pieces are welcome for anyone and everyone to play! All I ask is that you share it with me, because I'd love to hear it done by live players!

[leonardcohenofficial]

@breha @nelson-riddle-me-this i’m going to answer the two of these questions in one because i think they really go together (also, please take these explanations with a grain of salt because my theory is super rusty and i was never really good at it in the first place; also apologies if you already know this but typing this all out was a good refresher for me)

the way i learned the main difference between bebop/hard bop and modal jazz is the emphasis on tonality vs. modality to construct harmonies. bop utilizes repeated chord progressions with more focus given to functional harmonies; modal jazz utilizes entire modes (often staying in one mode the entire time) which allows use of all seven notes to create harmonies which often don’t resolve (even though there’s still a tonal center). chord changes in bop also often occur at a faster tempo than modulations in modal jazz (if there are any modulations at all; for example, john coltrane’s “india” is an extended vamp in G mixolydian)

trane’s impressions is one of my fave albums of his; miles davis’s kind of blue is probably the most popular example of the genre; other good tracks include “cantaloupe island” by herbie hancock, “afrique” by art blakey and the jazz messengers, “glass enclosure” by bud powell, and pretty much everything trane was doing with the classic quartet between 1960 and 1965

[cocoisindecisive]

Hi, you seem to know music stuff! I had a question - what the actual fuck is a Dorian scale 😭 is it just a c Major scale but the tonic is now D and so everything's messed up???

Also, how would you recognise it, and why would it be used?

Thank you!!

hi! i got this ask a while ago but i was taking a little tumblr break.

the dorian scale, or more accurately, the dorian mode, is built off of the second scale degree of the major scale yes.

modes can be though of different iterations of a scale, the concept is just that you can take any scale degree of any scale, act as if that scale degree is the tonic and boom! brand new unique sound.

emotionally, dorian can be though of a slightly brighter minor. it still has the b3 and the b7, but it still has a major 6th!

and theres a bunch of other modes too, like for example built off the 4th degree of the major scale there's the lydian mode, it has a #4 and sounds brighter than major tonalities. (if used traditionally)

learning to recognize different modes is a bit trickier, like every part of musical identification; you just gotta get familiar and build up your ear. if you are looking at sheet music, it can be pretty easy to identify which section is the start of a phrase and whats the tonic and whats resolving to what. if the tonic isnt scale degree 1 of the current key signature, it's likely you've got yourself a mode!

and why it, or other modes would be used is relatively simple! they are their own sounds that grant different unique experiences. while im definitely sterotyping, lydian can be seen as bright and bubbly, phyrigian as dark and brooding, mixolydian as motionless and floaty. its all just different ways to invoke fun sounds. theres also the concept of modal jazz, which is, *extremely roughly,* the idea that every chord has it's scale that it can be thought of being representative of, and being able to use that to quickly improvise solos and write melodies. if you ever see a #4 chord, that can be thought of invoking the lydian mode, just harmonically.

[guitarguitarworld]

Modal Chords:Modal Chordal Harmony

Modal Chords: Harmony

CLICK SUBSCRIBE! Modal Chords: “Chords” from Transposed Mode [C as Root] Lesson/How to/Examples Please watch video above for detailed information and examples: Hi Guys, Moving on from our last blog on the Modal backing track, I have included another video [above] explanation regarding the modal chords/harmony that I employed. PDF MODAL CHORDS: pdf-modal-chordsmodal chords Download IF THIS…

[favemusiclessons]

How to Improvise Solos in Mixolydian Mode

Check the Jam Track here:   • Jam Track in D Mi...   

Get the chart here: https://goo.gl/TVFe9F

00:00 Intro  01:24 Up and Down The Scale  03:43 Hammer-Ons, Pull-Offs, Slides  05:41 Accenting The Tonic Chord Tones  07:48 Accenting The Other Chord Tones  10:11 Mixolydian Pentatonic  12:21 All Techniques Blended  13:36 Wrapping Up

[guillemelgat]

Day 2 - Music Theory (CAT)

There’s a Quizlet set here if you want to study these!

L'escala (f.) - Scale

el to - whole step

el semitò, el mig to - half step

major - major

menor - minor

natural - natural

harmònica - harmonic

melòdica - melodic

cromàtica - chromatic

de tons - whole-tone

pentatònica - pentatonic

el mode - mode

el mixolidi - mixolydian

el lidi - lydian

el frigi - phrygian

el dòric - dorian

la transposició - transposition

la modulació - modulation

El pentagrama - Staff

la clau - clef

la clau de sol - treble clef

la clau de do - viola clef, C clef

la clau de fa - bass clef

l'armadura (f.) - key (signature)

el bemoll - flat

el sostingut - sharp

el becaire - natural

la indicació de compàs - time signature

la pulsació - beat

el compàs - measure, bar

l'anacrusi - pickup

la barra (de compàs) - bar (line)

la barra senzilla - single bar

la doble barra - double bar

la barra final - end bar

la barra de repetició - repeat bar

l'inici de repeticio (m.) - start repeat

el final de repetició - end repeat

La nota - Note

el silenci - rest

la rodona - whole note

la blanca - half note

la negra - quarter note

la corxera - eighth note

la semicorxera - sixteenth note

la fusa - thirty-second note

amb punt - dotted

la nota ornamental - grace note

la lligadura - slur, tie

L'interval (m.) - Interval

l'uníson - unison

la segona - second

la tercera - third

la quarta - fourth

el tríton - tritone

la quinta - fifth

la sexta - sixth

la sèptima - seventh

l'octava (f.) - octave

l'acord (m.) - chord

la tònica - tonic

la dominant - dominant

la subdominant - subdominant

disminuït - diminshed

augmentat - augmented

l'acord de sèptima (m.) - seven chord

[brentzen]

"Moonlight Dances on the Bay" is an instrumental composition that evokes a serene and captivating atmosphere. The piece begins with a gentle, flowing melody that is accompanied by delicate arpeggios and subtle rhythmic elements, creating a sense of peaceful movement. As the song progresses, the melody lines become more complex, building a rich and textured sound that is both soothing and uplifting. The interplay between the different instruments gives the piece a dreamy quality as if the listener is being transported to a tranquil waterfront at night. Overall, "Moonlight Dances on the Bay" is a captivating and emotive piece that showcases the beauty and power of instrumental music. A Zen-like Get lost in space and time as you follow the undulating melodies like the gentle waves on the Moonlit Bay

If you would like to play along and get lost in the jam, the song is in a G Mixolydian starting with an arpeggio on the 5th or Dm Chord and resolving back to the root or Gmaj and the melodies are flowing within the G Mixolydian mode or scale.

[music-theory-blog101]

Let's apply this idea to c major.  

C Major/Ionian = C-D-E-F-G-A-B-C 

 D Dorian = D-E-F-G-A-B-C-E 

E Phrygian = E-F-G-A-B-C-D-E 

F Lydian= F-G-A-B-C-D-E-F 

G Mixolydian= G-A-B-C-D-E-F-G 

A Aeolian = A-B-C-D-E-F-G 

 B Locrian = B-C-D-E-F-G-A-B 

Thankfully the chord pattern for each works the same way.  

Ionian (Major) 

I: C maj - II: D min - III: E min - IV: F Maj - V: G Maj - VI: A min - VII: B dim 

Dorian 

I: D min - II: E min - III: F maj-IV: G maj - V: A min - VI: B dim - VII: C maj1 

Phrygian 

I: E min - II: F maj - III: G maj - IV:  A min - V: B dim - VI: C maj - VII: D min1 

Lydian 

I: F maj - II: G maj - III: A min - IV: B dim - V: C maj - VI: D min - VII: E min1 

Mixolydian 

I: G maj - II: A min - III: B dim - IV: C maj - V: D min - VI: E min - VII: F maj1 

Aeolian (Natural minor) 

I: A min - II: B dim - III: C maj - IV: D min - V: E min - VI: F maj - VII: G maj1  

Locrian 

I: B dim - II: C maj - III: D min - IV: E min - V: F maj - VI: G maj - VII: A min -  

[automaticfrenchhorn]

Today I continued yesterday's exploration of the Ionian Mode. Instead of strictly exploring exactly seven notes in one tonal centre, today I allowed myself to shift between different roots, letting me transpose an Ionian shape to various tonal areas.

To keep each area sounding Ionian, this piece is full of major add4 chords, which I believe to be the most distinctly Ionian sound. This exists in the Mixolydian Mode as well, but most composers use the iconic b7 sound when writing something distinctly Mixolydian.

That said, the add4 chord is inherently difficult to use. The 4th's clash with the 3rd is striking, and will steal more attention than almost any other added note. I found that either voicing the 3rd above (to create a major seventh interval) or having them sit in the same octave alleviates this. The closed form voicing is especially interesting, it reminds me of minor add9 chords, but it swaps which tone is the chord tone.

As this is a harmonic exercise, there isn't much to the texture of this piece. In addition to the 4th, I tried to add the major seventh to the harmony as often as I could to prevent it from sounding Mixolydian. But, due to the 7th's clash with the 4th, I found this chord impractical and needlessly tense, in addition to sounding much too like a functional V/I chord. My solution was to use it as a passing tone, resulting in the 6-7-8-7 motif seen in most measures.

Lastly, I tried to have the cello melody reflect the Ionian Mode as much as I could. I leaned into the 4th and 7th as much as I could, while also making sure the root of the scale was clear. I'm quite fond of the skip down to Db in measure 4. Most other modes would skip to Eb instead, but Db feels like such a distinctly Ionian idea. It's an odd note after the G, but the perfect fifth from Ab provides a very stable support for Db.

As always, these pieces are welcome for anyone and everyone to play! All I ask is that you share it with me, because I'd love to hear it done by live players!

[charlesbarnett]

Practical Approaches to Teaching Fundamental Music Theory with Charles Barnett (Greenville, SC)

Music theory serves as the foundation for understanding the structure, composition, and performance of music. Whether you're a music educator, a student, or a self-taught musician, grasping the fundamental concepts of music theory is essential for unlocking the full potential of your musical journey. In this blog, we'll explore practical approaches to teaching and learning music theory with the help of experienced music teachers such as Charles Barnett (Greenville, SC), focusing on effective strategies for understanding key concepts and applying them in practice.

Introduction to Basic Elements of Music Theory

Before delving into more complex topics with your student, Charles Barnett (Greenville, SC) advises that it's crucial to establish a solid understanding of the basic elements of music theory. This includes learning about musical notation, rhythm, pitch, and harmony. Introducing students to these fundamental concepts through hands-on activities, interactive exercises, and listening examples can help demystify music theory and make it more accessible and engaging. Charles Barnett Education

One effective approach is to incorporate visual aids such as musical notation worksheets, flashcards, and interactive online tools to reinforce key concepts. Additionally, integrating rhythm exercises, ear training activities, and singing exercises into lessons can help students develop a deeper understanding of rhythm, pitch, and harmony, laying the groundwork for more advanced topics in music theory.

Exploring Scales and Modes

Scales and modes are essential building blocks of music theory that form the basis for melody and harmony. Teaching students about different types of scales, including major, minor, and modal scales, allows them to explore the unique characteristics and sounds of each scale. Introducing scales through hands-on activities such as scale exercises, scale patterns, and improvisation exercises can help students internalize the sound and structure of different scales. Charles Barnett Wade Hampton

Moreover, exploring modes – such as Ionian, Dorian, Phrygian, and Mixolydian – introduces students to a diverse range of musical colors and moods. Incorporating listening examples, composition exercises, and improvisation activities in different modes can help students develop a deeper understanding of modal harmony and expand their musical vocabulary.

Understanding Chords and Harmony

Chords and harmony play a crucial role in music theory, Charles Barnett (Greenville, SC) tells us, providing the harmonic framework for melodies and musical compositions. Teaching students about different types of chords allows them to understand the harmonic structure of music and how chords function within a musical context, and equips students with the building blocks to improvise for themselves. Charles Barnett Greenville SC

One effective approach is to introduce chords through chord progressions, chord charts, and harmonic analysis exercises. Analyzing chord progressions in popular songs, classical compositions, and jazz standards helps students identify common chord patterns and understand how chords create tension and resolution in music. Additionally, incorporating harmony exercises, chord voicing techniques, and composition activities can help students develop their skills in chord construction and harmonic analysis.

Analyzing Musical Form

Musical form refers to the overall structure and organization of a piece of music, including its sections, phrases, and cadences. In his practice, Charles Barnett (Greenville, SC) teaches students about different forms, providing them with a framework for understanding the organization and development of musical compositions.

One approach to teaching musical form is to analyze classical compositions, pop songs, and jazz standards to identify recurring patterns and structures. Breaking down musical pieces into their constituent sections – such as exposition, development, and recapitulation in sonata form – helps students understand how musical ideas are developed and transformed over the course of a composition. Additionally, incorporating composition exercises and listening activities that focus on different forms allows students to apply their knowledge of musical form in a creative context.

Applying Music Theory in Performance

One of the most effective ways to reinforce music theory concepts is through practical application in performance. Encouraging students to apply their knowledge of scales, chords, and harmony in instrumental or vocal performance helps them understand how music theory concepts are applied in practice.

For instrumentalists, incorporating scale exercises, chord progressions, and harmonic analysis into practice routines allows them to develop their technical skills while reinforcing music theory concepts. For vocalists, incorporating sight-singing exercises, ear training activities, and vocal improvisation exercises helps them develop their ear and musical intuition while internalizing key music theory concepts. Charlie Barnett Greenville SC

Integrating Technology and Multimedia Resources

Incorporating technology and multimedia resources into music theory instruction can enhance the learning experience and engage students in new and exciting ways. Utilizing music notation software, interactive apps, and online tutorials allows students to explore music theory concepts through interactive exercises, virtual simulations, and multimedia presentations.

Additionally, incorporating multimedia resources such as audio recordings, video tutorials, and online forums allows students to access a wealth of educational content and collaborate with peers and instructors. Integrating technology and multimedia resources into music theory instruction provides students with additional tools and resources to enhance their understanding of music theory and apply it in their musical practice.

Teaching music theory requires a comprehensive and engaging approach that incorporates practical exercises, interactive activities, and real-world applications. By introducing students to fundamental concepts and exploring more advanced topics, music teachers such as Charles Barnett (Greenville, SC) provide students with a solid foundation in music theory that prepares them for success in their musical journey. Incorporating technology and multimedia resources further enhances the learning experience and engages students in new and innovative ways, fostering a deeper understanding and appreciation of music theory. By adopting practical approaches to teaching music theory, educators can empower students to become confident and skilled musicians who are capable of applying their knowledge in creative and meaningful ways.