Does any of you got mods where you've used the modes of the major scale?
I'd especially like to hear music with Dorian and Lydian tonalities. And Phrygian. Heck, anything, really, but the natural major and minor aren't that interesting.
Anyone with links to uploaded music?
i like the less common modes as well, but i havnt used them much yet. i have written one song in (mostly) mixolydian (has parts in minor too, and the modulation from e minor to e mixo i still think is about the coolest ive ever done).
well, have a low quality module here:
http://www.snuq.com/mod/Snu%20-%20Dreaming%20(8bit).zip
or, an mp3:
http://www.snuq.com/mp3/Snu%20-%20Dreaming.mp3
another time i tried to write a section in f# dorian, but it ended up being in e major, doh...
Great - I'm gonna listen any minute!
EDIT: Quality composition. I'm gonna listen to it several times - I think it's a 'grower'. You certainly created a lot based on one instrument.
Nice track Snu. I like the second movement a lot.
One suggestion, work with velocity and dynamics a little. I think this would push the feeling of it more.
You many want to speed up and slow down certain parts as if there's no definite meter other than an internal emotional one.
Coolness.
Quote from: "apple-joe"Does any of you got mods where you've used the modes of the major scale? I'd especially like to hear music with Dorian and Lydian tonalities. And Phrygian. Heck, anything, really, but the natural major and minor aren't that interesting.quote]
A good technique is to play the notes that make a basic major or minor chord and branch out from there. You can find some interesting results and really get to know the keyboard with it's spacial and tonal relationships. The combinations are plentiful.
Yes, I know quite a bit about the use of the modes, but sometimes my creativity stops for a moment. Hence, it would be great to hear fresh inputs from other people. Nothing would be better than a Dorian mod by for instance you very soon, how about that?
I don't know. But how bout dis?
http://artman-dg.com/Dorian.it :wink:
OK. Gonna listen now. Did you make it?
Quote from: "apple-joe"OK. Gonna listen now. Did you make it?
No, elves did the light of the moon while I was in my slumber.
Little bastards.
I forgot to mention I made this with the latest build of the open source MPT, so you'll have to raise the tempo significantly in order to hear this correctly if you're playing this with the regular build of MPT or MP Player.
I recommend the open source build in order to hear it correctly "out of the box".
Quote from: "Matt Hartman"One suggestion, work with velocity and dynamics a little. I think this would push the feeling of it more.
You many want to speed up and slow down certain parts as if there's no definite meter other than an internal emotional one.
Coolness.
indeed, i wrote this song back in july 2003, since then i have written 3 piano pieces, and have experimented with dynamics and rubato quite a bit more.
i do agree that i should have used more dynamics, but for this song i prefered it to be very rhythmically precise.
Let's do this excercise :) (btw these smilies suck)
Say you have dominant G. - and that would be the mixolidyan (G A B C D E F G).
Now, notice these are all white keys on a piano. To add tension and a bit of color, let's replace one of the white keys with a black one. Let's take C. We'll make it C#. Now we have G A B C# D E F G- lydian-mixolydian :) Now we have the lowest level of tension we can have in a dominant scale.
Okay, now let's introduce another black key in your "soup" :)
We'll take D and make it D#. Now we'll have G A B C# D# F G- wholetone :)
And the most tensioned scales would be the last two ones. The halfdiminished (G G# A# B C# D E F G), and the halfdiminished-wholetone. (G G# A# B C# D# F G)
Notice how the addition of the black keys give diferent flavor to each of the scales.
Now experiment with your own keys and scales :)
Cheers!
http://artman-dg.com/Dorian.it
I've updated the chip tune I put together as part of this experiment.
If I've gotten a little off the Dorian track on this, just know it happens all the time.
I can't ever stick to one thing very well, there's just too much I want to do. :)
Generally, I find diminshed scales only really useful for classical and jazz. But you never know...
Quote from: "Matt Hartman"http://artman-dg.com/Dorian.it
I've updated the chip tune I put together as part of this experiment.
If I've gotten a little off the Dorian track on this, just know it happens all the time.
I can't ever stick to one thing very well, there's just too much I want to do. :)
Very good piece, but I don't think I could have told it's Dorian. It was definately among the better mods I've heard both when it comes to sound and composing, but I struggled hearing the Dorian sound. Maybe it has to do with your method of tracking this mod.
Quote from: "apple-joe"Very good piece, but I don't think I could have told it's Dorian. It was definately among the better mods I've heard both when it comes to sound and composing, but I struggled hearing the Dorian sound. Maybe it has to do with your method of tracking this mod.
He he, thanks Apple J...
I always start out with a directive when writing a peice, yet it never ends up exactly as intended. With this example I started with a G major A Dorian method. But I quickly got bored with revolving around a G major scale and then decided to do A minor Dorian instead of major.
Then all hell broke loose from there and your guess it as good as mine. :)
Quote from: "Matt Hartman"I always start out with a directive when writing a peice, yet it never ends up exactly as intended.
I know how that goes, my super-mellow ambient jazzy peice "In Tears" was originally going to be a high energy funk song. Kinda funny how things don't work out how you planned, but sometimes work out better :)
very nice song matt, reminds me a lot of earthbound...
not sure what you mean by 'a minor dorian'...? if you mean b dorian, that would be based on the a major scale.
looks like its mostly switching between Am and G chords, so neither of those has an F# note in it, which would explain why its hard to hear the dorian mode, its mostly just in the passing notes.
looks like its in a dorian until around pattern 23 where it starts getting chromatic... by pattern 27 looks like b minor... switching between harmonic and dorian and natural minor a lot, as minor is wont to do... then it gets kinda crazy, modulating every couple patters, i like that part :)
...and finaly ends up back at a dorian.
OK, keep the replies coming - I'm sure there are several who've got a piece or two in which modes dominate.
So, anyone familiar with the Melodic Minor and its modes? I think I might have used the scale three times or so in my tracking. Anyone who's got something to show?
I still await more tunes with mode examples by trackers. The interest has been surprisingly low this far?
The "Dorian" track is actually very Dorian, classical example, reminds me of King Crimson's Walking On Air. It has this mystical Dorian/Lydian effect.
There is also a very classical Dorian sound in the ancient Rome fanfares. Just recall the classical film soundtracks eg. from Ben Hur or from Gladiator. The fanfares are utilising Dorian mode in a specific way. For example, if we stick with the C major scale (white keys only): make a chord progression D minor - A minor , and play a D Dorian mode , starting with its 5th, that is A sound. You can either ascend on it or descend. Whatever you do - you get the ancient Roman fanfare sound :), especially when you add a fourth to it, and play it with a brass section sound :)
The Lydian mode is a cousin to Dorian it terms of musically evoked mysticism, although it has the happier (major) tone to it.
Recall the Simpsons theme - it was written in Lydian mode, starting with its 5th and ascending.
My own observation is - it's the chord movement which strenghtens the modal feeling. If you write a tune on chord progression F major and G major only (in C major scale), you will get a Lydian tone to it, regardless of actually focusing on playing this mode.
Well, I don't have a mod example right here, but I can recommend listening to a song of mine I recorded with my band. The verse part (when vocals enter) is Lydian as hell :)
Link to the song (http://mp3.wp.pl/i/sciagnij?id=138645)
Quote from: "KelThuz"The "Dorian" track is actually very Dorian, classical example, reminds me of King Crimson's Walking On Air. It has this mystical Dorian/Lydian effect.
There is also a very classical Dorian sound in the ancient Rome fanfares. Just recall the classical film soundtracks eg. from Ben Hur or from Gladiator. The fanfares are utilising Dorian mode in a specific way. For example, if we stick with the C major scale (white keys only): make a chord progression D minor - A minor , and play a D Dorian mode , starting with its 5th, that is A sound. You can either ascend on it or descend. Whatever you do - you get the ancient Roman fanfare sound :), especially when you add a fourth to it, and play it with a brass section sound :)
The Lydian mode is a cousin to Dorian it terms of musically evoked mysticism, although it has the happier (major) tone to it.
Recall the Simpsons theme - it was written in Lydian mode, starting with its 5th and ascending.
My own observation is - it's the chord movement which strenghtens the modal feeling. If you write a tune on chord progression F major and G major only (in C major scale), you will get a Lydian tone to it, regardless of actually focusing on playing this mode.
Well, I don't have a mod example right here, but I can recommend listening to a song of mine I recorded with my band. The verse part (when vocals enter) is Lydian as hell :)
Link to the song (http://mp3.wp.pl/i/sciagnij?id=138645)
Very, very, very interesting. I'm downloading the song. I'm gonna try your Dmin - Amin example. I have a habit of almost always starting on the root of my current chosen mode. Ie., working in D Dorian, I'll start on the D note - however, I do not have to do that. Nice idea!
About the F - G progression. True, it will sound Lydian, but you have to be careful. Remember the classic I - IV - V(7) progression? An F chord followed by a G somewhat prepares our ears for the C major chord. Hence, an efficient trick would be to include a static bass lines which plays the F note through the entire piece - even through the G chord.
Quote from: "apple-joe"
About the F - G progression. True, it will sound Lydian, but you have to be careful. Remember the classic I - IV - V(7) progression? An F chord followed by a G somewhat prepares our ears for the C major chord. Hence, an efficient trick would be to include a static bass lines which plays the F note through the entire piece - even through the G chord.
yes, definitely! You may also not resolve to C major at all, but drone on F major all the way, or on F-G, and just play on it. I can't think of any popular songs or themes which utilize this at this moment, but I can recommend listening to Steve Vai or Polish highlanders' folk music :), it is mostly this trick used there.
Well, I'm a fanatic of Lydian mode actually :). Maybe it's because it is the only mode which begins with 3 wholetone intervals and it makes it so different, yet not so alien as the real wholetone scale.
Quote from: "KelThuz"Quote from: "apple-joe"
About the F - G progression. True, it will sound Lydian, but you have to be careful. Remember the classic I - IV - V(7) progression? An F chord followed by a G somewhat prepares our ears for the C major chord. Hence, an efficient trick would be to include a static bass lines which plays the F note through the entire piece - even through the G chord.
yes, definitely! You may also not resolve to C major at all, but drone on F major all the way, or on F-G, and just play on it. I can't think of any popular songs or themes which utilize this at this moment, but I can recommend listening to Steve Vai or Polish highlanders' folk music :), it is mostly this trick used there.
Well, I'm a fanatic of Lydian mode actually :). Maybe it's because it is the only mode which begins with 3 wholetone intervals and it makes it so different, yet not so alien as the real wholetone scale.
Right. The Lydian mode is interesting, but also a little tricky. Please provide links to anything you got that is of Lydian character.
No offense guys, this is really interesting, but can anyone else follow this? I feel like I'm reading Greek :P
As in you haven't read about the modes yet? Well, you should; it's interesting.
Quote from: "KelThuz"The "Dorian" track is actually very Dorian, classical example, reminds me of King Crimson's Walking On Air. It has this mystical Dorian/Lydian effect.
There is also a very classical Dorian sound in the ancient Rome fanfares. Just recall the classical film soundtracks eg. from Ben Hur or from Gladiator. The fanfares are utilising Dorian mode in a specific way. For example, if we stick with the C major scale (white keys only): make a chord progression D minor - A minor , and play a D Dorian mode , starting with its 5th, that is A sound. You can either ascend on it or descend. Whatever you do - you get the ancient Roman fanfare sound :), especially when you add a fourth to it, and play it with a brass section sound :)
The Lydian mode is a cousin to Dorian it terms of musically evoked mysticism, although it has the happier (major) tone to it.
Recall the Simpsons theme - it was written in Lydian mode, starting with its 5th and ascending.
My own observation is - it's the chord movement which strenghtens the modal feeling. If you write a tune on chord progression F major and G major only (in C major scale), you will get a Lydian tone to it, regardless of actually focusing on playing this mode.
Well, I don't have a mod example right here, but I can recommend listening to a song of mine I recorded with my band. The verse part (when vocals enter) is Lydian as hell :)
Link to the song (http://mp3.wp.pl/i/sciagnij?id=138645)
I'm gonna link to the Dorian song again. Maybe I didn't concentrate as good as I should. I also listened to the song in your link a few days ago. I was surprised by the a hard rocking atmosphere. I have to listen to that one again too, as the rocking atmosphere almost made me forget about the Lydian-ness (or; Lydian-ity... what sounds best?)
OMG! I came from this:
Quote from: "Matt Hartman"I don't know. But how bout dis?
http://artman-dg.com/Dorian.it :wink:
... to this:
Quote from: "KelThuz"Well, I don't have a mod example right here, but I can recommend listening to a song of mine I recorded with my band. The verse part (when vocals enter) is Lydian as hell :)
Link to the song (http://mp3.wp.pl/i/sciagnij?id=138645)
... and basically had a heart attack.... ;D
Both are really cool though... I think I'll try to fiddle around a bit some of these scales...
Gonna listen to both again. They were quite different yes, weren't they.
Listening to the Dorian track again. The intro doesn't make me think "DORIAN!" right away.
OK, the song is over. It is truly great, but I somehow don't think it is typically Dorian. Might be my ears.
Stumbled onto this:
http://www.andymilne.dial.pipex.com/Scales.shtml
Interesting reading...
It surely was interesting.