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AP Music Theory

AP Music Theory. Chapter 2 – Part 4. Modal Scales. A mode is a series of pitches within an octave that make up the basic material of a composition. Instead of ‘tonic’ for the tonal center, modes use the term, FINAL. Church modes from 800-1500 formed the basis of all Western Music. . Dorian.

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AP Music Theory

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  1. AP Music Theory Chapter 2 – Part 4

  2. Modal Scales • A mode is a series of pitches within an octave that make up the basic material of a composition. • Instead of ‘tonic’ for the tonal center, modes use the term, FINAL. • Church modes from 800-1500 formed the basis of all Western Music.

  3. Dorian • Half Steps between 2-3 and 6-7 • Compares with natural minor scale with raised 6th degree

  4. Phrygian • Half steps between 1-2 and 5-6 • Compares with natural minor scale with lowered second degree.

  5. Lydian • Half Steps between 4-5 and 7-8 • Compares with Major scale with raised 4th degree.

  6. Mixolydian • Half steps between: 3-4 and 6-7 • Compares with: Major scale with lowered seventh degree.

  7. Aeolian • Half steps between: 2-3 and 5-6 • Same as natural minor scale.

  8. Ionian • Half-steps between: 3-4 and 7-8. • Same as major scale

  9. Modal facts • Like the major and minor scales, the modes can begin on any tone as long as the arrangement of the whole and half steps remain the same. • 1. The final of the Dorian mode is always the second degree of a major scale. • 2. The final of the Phrygian mode is always the third degree of a major scale.

  10. Modal facts continued • 3. The final of the Lydian mode is always the fourth scale degree of a major scale. • 4. The final of the Mixolydian mode is always the fifth scale degree of a major scale. • 5. The final of the Aeolian mode is always the sixth scale degree of a major scale. • 6. The final of the Ionian mode is always the first degree of a major scale.

  11. Homework • www.musictheory.net/exercises/ear-scale/o9ybyyfgneb • 20 minutes: send the screen shot or print up your report. • Due Wednesday: Workbook 2H, 2I, 2J.

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