Name: 第1.3講--更多關於音階的內容（Coursera - Fundamentals of Music Theory 4）。 (Lecture 1.3 - More on scales (Coursera - Fundamentals of Music Theory 4))
Uploaded: 2021-01-14T06:24:46.000Z
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現在進行式

So from this pool of notes we're now going to look

at more scales beyond just the scale of C major.

>> So let's take a different tonic this time.

If we start now and play all the notes that we know and all the notes

that we now know belong to C-major, we get A-B-C-D-E-F-G-A.

So by taking A, as our new tonic what we see is that we actually still

got a different pattern of tones and semitones.

Now this is called the Natural minor scale and we'll talk more about this next week.

It's still a diatonic scale because it still

has seven notes with five tones and two semitones

but they have a different sequence of tones

and semitones now as opposed to the major scale.

Now, many of you may have heard of modes,

especially if you visit a lot of rock guitar websites.

See, one of the amazing things about music is that, simply by reorientating ourselves

create different patterns and different kinds of melodies.

This may be the wrong time of year for you, but.

So, that's God Rest Ye Merry Gentlemen and Merry Christmas, if it is Christmas.

I think you can hear that, that is different from the Auld Lang Syne,

Save the Queen, or something else like that.

That is because I was orientating that melody around the A,

around that aeolian mode that we just saw up on the stave.

>> So the relationship of the tones and the semi-tones between the tonics changed

and this is how we get a different flavor, we get a different quality.

>> Well, we already know that starting on C, we have a C Major scale.

If we go up to D, this is the second note

of C Major, we get a mode called the Dorian mode.

It's made up of the notes D, E, F, G, A, B, C back to D.

This gives us a different pattern and a different sound.

>> Okay, again if we move up to the E, that's the third degree of C Major.

So if we build a mode on the third degree.

In this case, we have E, F, G, A, B, C, D, E, and again, that

obviously gives us a different pattern of tones and semitones and

again, that changes the flavor, or the quality of the mode.

We get F, G, A, B, C, D, E, F, which is now called the Lydian mode.

degree, we get something called the Mixolydian mode.

This has got a very similar pattern of tones and

semitones to the major scale, but it is slightly different.

different flavor, what we'd describe as a different quality.

>> We've already looked at A, which we know is called the aeolian mode.

We get the notes B, C, D, E, F, G, A, back to B.

This one is now known as the Locrian mode.

>> There's a lot of information to take in, but we have

additional information in the supplementary material.

The names we just gave you are the 20th century names for them and they are

often described as the church modes and indeed

many of them were used in ancient church music.

You will also find them around the world they

were popular in jazz from the late 50's onward.

>> we've used the kind of names that you'll find listed for

them, in things like guitar websites, or guitar player magazines.

But what's really important, is, if you can find a

keyboard, or you have your own instrument, or you sing.

What would be really is if you could just take

the major scale, and start this pool of notes on each.

And get used to the sound and the, the quality of these different modes.

Rest Ye Merry Gentlemen, that was a different sound.

Just to show you that it really does make a

difference, we're going to now do a little piece of modal music.

This one is going to be orientated around G, which makes it the Mixoydian mode.

>> Which is our slightly jazzy version of She Moved

Through the Fair which is built on the G Mixolydian.

>> Mixolydian is built on the first degree of the major scale.