Unit 8: Modes and Form

Modes

Ionian mode - Same pattern as the major scale
Aeolian mode - Same pattern as the natural minor scale
Phrygian, Aeolian, and Dorian are minor modes.
- Dorian is similar to Aeolian with a raised 6th scale degree.
- Phrygian is similar to Aeolian with a lowered 2nd scale degree.
- Dorian adds one sharp and Phrygian adds one flat.
Lydian, Mixolydian, and Ionian are major modes.
- Lydian is similar to Ionian with a raised 4th scale degree.
- Mixolydian is similar to Ionian with a lowered 7th scale degree.
- Lydian adds one sharp and Mixolydian adds one flat.
Locrian is used less. It has a diminished tonic triad, so it’s not a major or minor.

Pentatonic scale - Has five tones. It contains no half steps or active tones.
- Major pentatonic - To build it, in the Circle of Fifths, start from C up to 5 consecutive pitches.
- Relative minor pentatonic - It uses the same pitch as the C pentatonic but it starts on A.

Blues scale - A musical scale that is used in blues music and other genres that are influenced by it.
It is a six-note scale that includes the following notes:
- Root note
- Flat third
- Fourth
- Flat fifth
- Fifth
- Flat seventh

Ragas - Melodic frameworks used in Indian classical music. They are a set of rules that govern the way a melody is constructed and performed. Ragas are based on a scale of seven notes, which are arranged in a specific order. Each raga has a unique combination of notes, which gives it a distinct character and mood.

Heptatonic scales - There are seven tones in the scale. Major and minor scales are heptatonic.
Hexatonic scale - There are six tones in this scale. The whole-tone scale is hexatonic.
Whole-tone scale - Each pitch is a whole step apart.

Musical phrase - A group of musical ideas that form a complete musical thought.
- A phrase can be as short as two notes or as long as several measures.
Phrases can be related to each other in different ways.
- A phrase can be a response to a previous phrase, or it can be a continuation of a previous phrase.
The relationship between phrases can create tension and release, which is an important aspect of musical expression.
Phrase chain - A series of phrases that are related to each other.

Period - A group of phrases that form a complete musical idea.
A period usually consists of two phrases, an antecedent phrase, and a consequent phrase.
Antecedent phrase - The first phrase in a period.
- It creates a sense of tension or expectation that is resolved by the consequent phrase.
Consequent phrase - The second phrase in a period.
- It resolves the tension created by the antecedent phrase.

Parallel periods - Two musical phrases that have the same or similar melodic and rhythmic structure.
Contrasting periods - Two musical phrases that have different melodic and rhythmic structures.
Modulating periods - Two musical phrases that start in one key and end in a different key.
Asymmetrical periods - Two musical phrases that have different lengths or structures.
Double period - Four musical phrases that are grouped into two pairs, with each pair having a similar or contrasting structure.

Exposition - The opening section of a musical piece that introduces the main themes and melodies, and establishes the key and tonality of the piece.
Interlude - A short section that connects two larger sections of a piece used to provide contrast or to transition between different moods or tempos.
Bridge - A section that connects two different parts of a song and that often provides a contrast to the verse or chorus.
Verse - A section of a song that tells a story or conveys a message.
Chorus - A section of a song that is repeated several times throughout the piece
Refrain - A repeated line or phrase that occurs at the end of each verse or chorus.
Coda - A concluding section of a musical piece that provides a sense of closure or resolution and may contain a recapitulation of earlier themes or melodies.
Codetta - A short concluding section that follows the main coda and is used to provide a final flourish or to bring the piece to a definitive end.