Re: Fwd: OT SYNTHETIC MODES

[Rick Walker <looppool@cruzio.com>]

On 7/22/64 11:59 AM, William Walker wrote:
>>
>> Now, my question is, how were these synthetic modes derived?
>> here is the Wikipedia definition which seems in alignment with what I 
>> learned in music school. Incidentally  Leinhos, Peter is out of the 
>> office.!!!
>>  happy new year one and all.
>> * bill
>> *
>  http://en.wikipedia.org/wiki/Synthetic_scale 
> <http://en.wikipedia.org/wiki/Synthetic_scale>
So this reinforces my understanding that the scales are just 
augmentations (or diminutions)
of the basic modes.

I have for a long time used the Greek modes as a point of departure 
(reference) when
learning Indian, Arabic, Persian, Chinese, Japanese, Malaysian, 
Indonesian, SouthEast Asian.

I find it a useful approach and it's a lot easier to consider something 
an 'alteration' of something
you already know.

As an example,  a favorite scale of mine is the Rag called 'Bhairav'
which goes

1   b2    nat3     4    5    b 6    nat7    8va

So it's easy to think of this as  Ionian with a b2nd and a b6th

or as  Phrygian with a natural 3 and a natural 7th


The alterations in these scales add to their sophistication or 
complexity, emotionally
as I see it.

I think it's so hip that the alteration of a single note from a typical 
mode
causes a strong emotional response.

Another of my favorite scales currently, is
the Lydian mode with a flattened 7th

1   2    3    #4     5     6     b7     8va


"Pretty Ballerina"  by the Sixties baroque pop group, "The Left Banke"
(of "Walk Away Renee"  fame) is the only pop song I've ever heard that 
uses this scale.

I just love how exotic it sounds and yet,  to my ear it doesn't sound 
'foreign'