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Line 87: Line 87: | G || A || B || D || E| G || A || B || D || E|}|}+ {| style="width:50%;border:1px solid #000; background:#000; vertical-align:top; color:#FFF;"+ !colspan="5"|Major Blues Scale+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | 1 || 2 ||style="border:1px solid #3e69fb;background:#3e69fb;"| b3 || 5 || 6+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | Ab || Bb ||style="border:1px solid #3e69fb;background:#3e69fb;"| Cb || Eb || F+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | A || B ||style="border:1px solid #3e69fb;background:#3e69fb;"| C || E || F#+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | Bb || C ||style="border:1px solid #3e69fb;background:#3e69fb;"| Db || F || G+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | B || C# ||style="border:1px solid #3e69fb;background:#3e69fb;"| D || F# || G#+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | Cb || Db ||style="border:1px solid #3e69fb;background:#3e69fb;"| Ebb || Gb || Ab+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | C || D ||style="border:1px solid #3e69fb;background:#3e69fb;"| Eb || G || A+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | C# || D# ||style="border:1px solid #3e69fb;background:#3e69fb;"| E || G# || A#+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | D || E ||style="border:1px solid #3e69fb;background:#3e69fb;"| F || A || B+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | Db || Eb ||style="border:1px solid #3e69fb;background:#3e69fb;"| Fb || Ab || Bb+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | Eb || F ||style="border:1px solid #3e69fb;background:#3e69fb;"| Gb || Bb || C+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | E || F# ||style="border:1px solid #3e69fb;background:#3e69fb;"| G || B || C#+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | F || G ||style="border:1px solid #3e69fb;background:#3e69fb;"| Ab || C || D+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | F# || G# ||style="border:1px solid #3e69fb;background:#3e69fb;"| A || C# || D#+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | Gb || Ab ||style="border:1px solid #3e69fb;background:#3e69fb;"| Bbb || Db || Eb+ |- align="center" style="border:1px solid #000; background:#cc9cfd; vertical-align:top; color:#000;"+ | G || A ||style="border:1px solid #3e69fb;background:#3e69fb;"| Bb || D || E+ |}+ *This note changes the major pentatonic scale into a major blues scale[[category:Music]][[category:Music]][[category:Harmony]][[category:Harmony]][[category:Songwriting]][[category:Songwriting]]Revision as of 18:46, 15 November 2010
Contents
Modes
Harmony Infobox Major Modes Ionian - Lydian - Mixolydian Minor Modes Dorian - Aeolian - Phrygian - Locrian Other Modes Major Pentatonic - Minor Pentatonic - Major Blues Scale - Minor Blues Scale Key Signatures A-flat - A - B-flat - B - C-flat - C - C-sharp - D-flat - D - E-flat - E - F - F-sharp - G-flat - G Harmonic Tools Modal Comparison Charts - Power Progressions - Cadences - Chord Finder Harmony Lyric - Melody - Harmony - Rhythm - Form Songwriting: Harmony Mode Comparison Chart
Roman Numerals as Triads Alterations I II III IV V VI VII Lydian bright raised 4 I II IIImin #IVdim V VImin VIImin Ionian neutral no alterations I IImin IIImin IV V VImin VIIdim Mixolydian less bright lowered 7 I IImin IIIdim IV Vmin VImin bVII Dorian dark lowered 3, 7 Imin IImin bIII IV Vmin VIdim bVII Aeolian darker lowered 3, 6, 7 Imin IIdim bIII IVmin Vmin bVI bVII Phrygian darkest lowered 2, 3, 6, 7 Imin bII bIII bIVmin Vdim bVI bVIImin Locrian unusable lowered 2, 3, 5, 6, 7 Idim bII bIIImin bIVmin bV bVI bVII
Roman Numerals with 7ths Alterations I II III IV V VI VII Lydian bright raised 4 IMAJ7 II7 IIImin7 #IVmin7b5 VMAJ7 VImin7 VIImin7 Ionian neutral no alterations IMAJ7 IImin7 IIImin7b5 IVMAJ7 V7 VImin7 VIImin7b5 Mixolydian less bright lowered 7 I7 IImin7 IImin7b5 IVMAJ7 Vmin7 VImin7 bVIIMAJ7 Dorian dark lowered 3, 7 Imin7 IImin7 bIIIMAJ7 IV7 Vmin7 VImin7b5 bVIIMAJ7 Aeolian darker lowered 3, 6, 7 Imin7 IImin7b5 bIII7 IVmin7 Vmin7 bVIMAJ7 bVII7 Phrygian darkest lowered 2, 3, 6, 7 Imin7 bIIMAJ7 bIII7 bIVmin7 Vmin7b5 bVIMAJ7 bVIImin7 Locrian unusable lowered 2, 3, 5, 6, 7 Imin7b5 bIIMAJ7 bIIImin7 bIVmin7 bVMAJ7 bVI7 bVIImin7 Notes
- The Ionian mode is more commonly called "the major scale" (and is the most commonly used major scale)
- The Aeolian mode is commonly called "the natural minor scale" (and is the most commonly used minor scale)
- Lydian, Ionian, & Mixolydian are considered major modes because their "I chord" is major.
- Dorian, Aeolian, & Phrygian are considered minor modes because their "I chord" is minor.
- The Locrian mode is so dissonant that it is usually unusable.
Pentatonic Scales & Blues Scales Comparison
Major Pentatonic 1 2 3 5 6 Ab Bb C Eb F A B C# E F# Bb C D F G B C# D# F# G# Cb Db Eb Gb Ab C D E G A C# D# E# G# A# D E F# A B Db Eb F Ab Bb Eb F G Bb C E F# G# B C# F G A C D F# G# A# C# D# Gb Ab Bb Db Eb G A B D E Major Blues Scale 1 2 b3 5 6 Ab Bb Cb Eb F A B C E F# Bb C Db F G B C# D F# G# Cb Db Ebb Gb Ab C D Eb G A C# D# E G# A# D E F A B Db Eb Fb Ab Bb Eb F Gb Bb C E F# G B C# F G Ab C D F# G# A C# D# Gb Ab Bbb Db Eb G A Bb D E - This note changes the major pentatonic scale into a major blues scale
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