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Otherwise explained: if the melody moves mostly above the final, with an occasional cadence to the sub-final, the mode is authentic. Plagal modes shift range and also explore the fourth below the final as well as the fifth above. In both cases, the strict ambitus of the mode is one octave. A melody that remains confined to the mode's ambitus is ...
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
The corresponding scale for the C 7 ♯ 11 chord, with added ninth and thirteenth tensions, is C lydian dominant, the fourth mode of the ascending melodic minor. [ 7 ] Originating with George Russell 's Lydian Chromatic Concept of Tonal Organization (1959), [ 8 ] the chord-scale system is now the "most widely used method for teaching jazz ...
Within the diatonic modes of the major scale, in addition to the Aeolian mode (which is the natural minor scale), the Dorian mode and the Phrygian mode also fall under this definition. Conversely, the Locrian mode has a minor third, but a diminished fifth (thus containing a diminished triad ), and is therefore not commonly referred to as a ...
The Aeolian mode is the sixth mode of the major scale, that is, it is formed by starting on the sixth degree of the major scale. For example, if the Aeolian mode is used in its all-white-note pitch based on A, this would be an A-minor triad, which would be the submediant in the relative major key of C major.
As explained above, all major scales use the same interval sequence T–T–S–T–T–T–S. This interval sequence was called the Ionian mode by Glarean. It is one of the seven modern modes. From any major scale, a new scale is obtained by taking a different degree as the tonic. With this method it is possible to generate six other scales or ...