Research - Composition
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Objective
Objective
To use the knowledge developed in the research pages to create compositions.
Modal harmonic formulas
Modal harmonic formulas
Ionian 1 2 3 4 5 6 7
Dorian 1 2 -3 4 5 6 -7
Phrygian 1 -2 -3 4 5 +5 -7
Lydian 1 2 3 -5 5 6 7
Mixolydian 1 2 3 4 5 6 -7
Aeolian 1 2 -3 4 5 +5 -7
Locrian 1 -2 -3 4 -5 +5 -7
Music Construction Information
Music Construction Information
Scale name: Blues Hexatonic
Pure modal scale: Aeolian R2 A-5 R+5
Harmonic formula: 1 -3 4 -5 5 -7
All modal scales:
Ionian R2 b3 A-5 R5 b7
Dorian R2 A-5 R6
Phrygian R-2 A-5 R+5
Lydian R2 b3 A4 R6 b7
Mixolydian R2 b3 A-5 R6
Aeolian R2 A-5 R+5
Locrian R-2 b+5
Possible choices
D Dorian R2 A-5 R6 Key C
A Aeolian R2 A-5 R+5 Key C
B Locrian R-2 b+5 Key C
Locrian is the least amount of operations for the blues Hexatonic scale.
What key signature do we want to start in? Because the Locrian has the least amount of operation, we'll choose to start our composition.
B Locrian R-2 b+5 Key C
Although our starting Key is C, because the b+5 introduces the note F#, this is the spicy note. It will make a good slide note.
Another consideration is the slides going from black to white notes. The Locrian has a slide going from 5 to -5, however the Aeolian has a slide going from -5 to 4.
Let's try the key signature A
G# Locrian R-2 b+5 Key A
Chord choices for;
B Locrian R-2 b+5 Key C
Bm because of the 5 interval.
Bdim because of the -5 interval.
D because the Bm7 chord contains a stacked D chord.
What other key signature choices do we have?
Because the pattern doesn't use the -2 interval of the Locrian, A Bm chord exists in the key of G, key of D and key of A.
Discovering all the mode of our original scale.
Discovering all the mode of our original scale.
Scale name: Blues Hexatonic
Harmonic formula: 1 -3 4 -5 5 -7
You can write down all the modes of the original scale by taking the bass note and moving it to the high position. This is not a key transposition exercise, you use this to find different emotional feeling for any melody staying within a tonality.
These are modes of an original scale, they are note pure modal which represent one harmonic formula in terms of the seven natural modes. Here we're going to produce six unique harmonic formulas in which all may be represented with another seven pure modal scales.
The original scale has the harmonic formula 1 -3 4 -5 5 -7
In the key of C, this will be the notes, C, Eb, F, Gb, G and Bb. By taking the low base note and inverting six times, one inversion for every note of the scale, we're able to find all the mode having different harmonic formulas.
Original Scale: C, Eb, F, Gb, G, Bb
1 -3 4 -5 5 -7
Inversion 1: Eb, F, Gb, G, Bb, C
1 2 -3 3 5 6
Inversion 2: F, Gb, G, Bb, C, Eb
1 -2 2 4 5 -7
Inversion 3: Gb, G, Bb, C, Eb, F
1 -2 3 -5 6 7
Inversion 4: G, Bb, C, Eb, F, Gb
1 -3 4 +5 -7 7
Inversion 5: Bb, C, Eb, F, Gb, G
1 2 4 5 +5 6
Inverting Melodies
Inverting Melodies
To invert a melody, you take the bass note and move it to the high position. Let's invert the following finger placement exercise.
Original Melody: C > RT1 M33 R4 <M3 >R4 P5
Inversion 1: E > RT11 I-2 <T1 >I-2 M-3 P+5
Inversion 2: F < RT1 I-7 >T1 I2 R5 P77
Inversion 3: E > RT1 I-2 T-3 I+5 R11 P-2
Inversion 4: F > RI1 T2 I5 M77 R1 M7
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