Re: [abcusers] Modes without the maths

2002-07-23 Thread Jack Campin
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

Re: [abcusers] Modes without the maths

2002-07-23 Thread John Chambers
Jack Campin asks: | 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

Re: [abcusers] Modes without the maths

2002-07-23 Thread Laurie (ukonline)
John Chambers wrote ...That phrygian major sounds a lot like what the people to the south and east of Spain call hejaz and klezmer musicians call freygish. Phrygian with a raised 3rd ... Yes. In Ephr, the ^G from the E major in the harmony creeps into the tune now and again. But for most

[abcusers] Modes without the maths

2002-07-22 Thread Laurie (ukonline)
Tonic is important because it says where the tune is going. Mode is important because it says how the tune is going to get there. If a tune is in an open key (no white notes on the harpsichord) then in the major (or Ionian) mode the obvious harmony is the three chord trick C, G7 and F. The

AW: [abcusers] Modes without the maths

2002-07-22 Thread Toni Schilling
Laurie wrote: ... To summarise it so you can see it at a glance, here it is as a table. The final sequence is the first two chords in reverse order e.g. G7=C. K:Cmaj CG7 F K:Ddor Dm E (G, Bm) K:Ephr EFmaj7 G7 Am K:Gmix GF (C) K:Aaeo Am C