Well there are a few odd pieces that one or two list members have unearthed that seem to be really the Greek phrygian mode in that they resolve on to a chord which is a triad starting from the tonic. e.g. in EPhr that's E G B or an E minor chord. They know more than I do. I don't understand that stuff, but it seems different from what I know.
Many flamenco pieces (e.g. soleares, tarantas, some bulerias and others too) are played in a phrygian mode in that the notes of the tune are almost exclusively in that scale, but they NEVER resolve onto E minor, but always onto E major. So the melody uses a G natural (OK, so the odd G sharp creeps in, but mainly they don't) but the harmony always sharpens it whenever the tonic chord comes in, and especially the final chord. So the final cadence is typically Am, G7, F maj7, E. Interestingly, classical composers who have been to spain and written a "Spanish" piece almost never do this. They get that far and then they feel it's unfinished and too uncomfortable and so they bolt for the minor by adding B A G# A or something on to the end of the melody to finish up in A minor. I suppose that to illustrate what I mean I need to supply a sample. The numbers after the semicolons are string numbers and you only have to look at the first bar with all those fs on the B string to see that they really do matter. Things that otherwise look like trills are actually arpeggios played as a sort of two-string tremolo - and it wanders up the neck a little later on. Don't try to play it on a melodion! You'll need to stitch the lines back together. X:0 T:To Anne Elizabeth C:Laurie Griffiths L:1/8 M:None K:EPhrj [K: transpose=-12]^D/;4^d/;2e/;1^d/;2 E/;4e/;2e/;1e/;2 F/;4f/;2e/;1f/;2 E,/;6e/;2e/;1e/;2 E/;4e/;2e/;1e/;2 E/;4e/;2e/;1e/;2 :|\ F/;4f/;2e/;1f/;2 G/;4f/;2e/;1f/;2 G/;4f/;2e/;1f/;2 F/;4f/;2e/;1f/;2 G/;4f/;2e/;1f/;2 G/;4f/;2e/;1f/;2 |\ F/;4f/;2e/;1f/;2 G/;4f/;2e/;1f/;2 F/;4f/;2e/;1f/;2 E,/;6e/;2e/;1e/;2 E/;4e/;2e/;1e/;2 E/;4e/;2e/;1e/;2 |\ F/;4f/;2a/;1f/;2 G/;4f/;2a/;1f/;2 B/;3f/;2a/;1f/;2 F/;4f/;2a/;1f/;2 G/;4f/;2a/;1f/;2 B/;3f/;2a/;1f/;2 |\ F/;4f/;2e/;1f/;2 G/;4f/;2e/;1f/;2 F/;4f/;2e/;1f/;2 E,/;6e/;2e/;1e/;2 E/;4e/;2e/;1e/;2 E/;4e/;2e/;1e/;2 |\ D/;4e/;2e/;1e/;2 E/;4e/;2e/;1e/;2 F/;4E/;4D/;4C/;5 B,/;5e/;2e/;1e/;2 C/;5e/;2e/;1e/;2 D/;5C/;5B,/;5A,/;5 |\ ^G,/;6e/;2e/;1e/;2 A,/;5e/;2e/;1e/;2 B,/;5A,/;5=G,/;6F,/;6 E,;6e;1 E;4e;1 E/;4e/;2e/;1e/;2 ||\ F/;4f/;2a/;1f/;2 G/;4f/;2a/;1f/;2 =G,3/2;6[f/;2 a/;1] ^F;4G;4 [f;2a;1]G;4 =G,3/2;6[f/;2 a/;1] |\ ^F;4G;4 [f;2a;1]G;4 [f;2a;1]=F;4 E,;6 (3^G/;3 B/;2 e/;1 E;4B;2 e2;1 ||\ A,/;5e/;1c/;2A/;3 E/;4A/;3c/;2e/;1 f/;1e/;1d/;2c/;2 G,/;6B/;2G/;3F/;4 B,/;5F/;4G/;3B/;2 c/;2B/;2A/;3G/;3 |\ F,/;6B/;2A/;3F/;4 C/;5F/;4A/;3B/;2 c/;2^c/;2d/;2^d/;2 E,;6e;1 E;4^G;3 B;2e;1 |\ A,/;6a/;1e/;2c/;3 A/;4c/;3e/;2a/;1 b/;1a/;1e/;2c/;3 G,/;6g/;1d/;2B/;3 G/;4B/;3d/;2g/;1 a/;1g/;1d/;2B/;3 |\ F,/;6f/;1c/;2A/;3 F/;4A/;3c/;2f/;1 g/;1f/;1c/;2A/;3 E,/;6e/;1B/;2^G/;3 E/;4^G/;3B/;2e/;1 f/;1^f/;1g/;1^g/;1 |\ (3[A,;6a;1]e;2c;3 (3A;4c;3e;2 (3c';1b;1a;1 (3[G,;6g;1]d;2B;3 (3G;4B;3d;2 (3b;1a;1g;2 |\ (3f;2c;3A;4 (3F;5A;4c;3 (3e;1f;2e;1 E,;6e;1 E;4^G;3 B;2e;1 |\ (3A,;5E;4A;3 (3c;2B;2A;3 (3c;2B;2A;3 (3G,;6B,;5F;4 (3B;2A;3G;3 (3B;2A;3G;3 |\ (3F,;6A,;5F;4 (3B;2A;3G;3 B/;2A/;3G/;3F/;4 E,;6e;1 E;4^G;3 B;2e;1 || Oh, all right - here you are without the strings numbers! X:0 T:To Anne Elizabeth C:Laurie Griffiths L:1/8 M:None K:EPhrj [K: transpose=-12]^D/^d/e/^d/ E/e/e/e/ F/f/e/f/ E,/e/e/e/ E/e/e/e/ E/e/e/e/ :|\ F/f/e/f/ G/f/e/f/ G/f/e/f/ F/f/e/f/ G/f/e/f/ G/f/e/f/ |\ F/f/e/f/ G/f/e/f/ F/f/e/f/ E,/e/e/e/ E/e/e/e/ E/e/e/e/ |\ F/f/a/f/ G/f/a/f/ B/f/a/f/ F/f/a/f/ G/f/a/f/ B/f/a/f/ |\ F/f/e/f/ G/f/e/f/ F/f/e/f/ E,/e/e/e/ E/e/e/e/ E/e/e/e/ |\ D/e/e/e/ E/e/e/e/ F/E/D/C/ B,/e/e/e/ C/e/e/e/ D/C/B,/A,/ |\ ^G,/e/e/e/ A,/e/e/e/ B,/A,/=G,/F,/ E,e Ee E/e/e/e/ ||\ F/f/a/f/ G/f/a/f/ =G,3/2[f/ a/] ^FG [fa]G =G,3/2[f/ a/] |\ ^FG [fa]G [fa]=F E, (3^G/B/e/ EB e2 ||\ A,/e/c/A/ E/A/c/e/ f/e/d/c/ G,/B/G/F/ B,/F/G/B/ c/B/A/G/ |\ F,/B/A/F/ C/F/A/B/ c/^c/d/^d/ E,e E^G Be |\ A,/a/e/c/ A/c/e/a/ b/a/e/c/ G,/g/d/B/ G/B/d/g/ a/g/d/B/ |\ F,/f/c/A/ F/A/c/f/ g/f/c/A/ E,/e/B/^G/ E/^G/B/e/ f/^f/g/^g/ |\ (3[A,a]ec (3Ace (3c'ba (3[G,g]dB (3GBd (3bag |\ (3fcA (3FAc (3efe E,e E^G Be |\ (3A,EA (3cBA (3cBA (3G,B,F (3BAG (3BAG |\ (3F,A,F (3BAG B/A/G/F/ E,e E^G Be || You must play it in such a way that the notes ring on long after their strict note value says they should have ended (because that's what guitars do and it's lunacy to try to notate it other than saying "guitar"). For anyone who wants to try to play it on a guitar, it's tuned in standard EADGBE and has enough stretches and awkwardnesses that it's not for beginners. Incidentally I hope nobody pours this into Muse and back out again as it has unearthed some bugs in Muse ABC output (one of which is quite embarrassing). I've written is as essentially 6/8 but it really should be thought of as 12/8 with a stress pattern that goes | - - * - - * - * - * - - | (so that's alternating 3/4 and 6/8 with the first beat unstressed and played backwards, right?) M:NONE is a lie, it has strict timing and the same number of beats in every cycle. The piece doesn't finish there, in fact that's less than half, but it gets harder to represent as ABC. The next passage has lots of rasgueados, followed by a long tremolo passage. Although I did sort of write it, a lot of it is really traditional things bridged together. Incidentally Phil's "Guess the mode" algorithm as now implemented in Muse2 says "E phrygian" which is nice, because it had definitely never seen the piece before and it definitely isn't either C major or A minor! Plausible key signatures for tadpoles notation would be "open", leaving people to guess whether it was really in C major or A minor (pfaugh!) or perhaps "just a G sharp" to leave them wondering if it was a misprint. Laurie ----- Original Message ----- From: "Jack Campin" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Monday, July 22, 2002 5:50 PM Subject: Re: [abcusers] Modes without the maths > If it's in E phrygian and is a flamenco piece (perhaps "phrygian major") > you'll hear a characteristic ending sequence of "Am" => G7 => Fmaj7 => E > If it's in the minor phrygian then I haven't a clue and the same applies > to F lydian. I don't think I've encountered that distinction between two kinds of phrygian mode before. Explain? ---------------------------------------------------------------------------- - Jack Campin * 11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland tel 0131 660 4760 * fax 0870 055 4975 * http://www.purr.demon.co.uk/jack/ food intolerance data & recipes, freeware Mac logic fonts, and Scottish music To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
