Lecture Notes Review: Musical Modes and Terms

Diatonic Modes and Modal Theory Systems

• Overview of Diatonic Modal Structures

  • Diatonic modes form seven distinct scalar patterns derived from specific step-wise arrangements within musical scale systems.
  • The primary modal categories and spellings present in music theoretical frameworks include:
  • Dorian (dorian): The second mode of the major scale, built with a minor third and major sixth.
  • Phrygian (Phryan): The third mode, characterized by a distinctive minor second degree.
  • Lydian (Lydian): The fourth mode, featuring a raised fourth scale degree ($\text{augmented 4th}$).
  • Mixolydian (Hedlan): The fifth mode, containing a major third and minor seventh degree.
  • Aeolian: The natural minor scale system.
  • Locrian (Locrian): The seventh mode, featuring a diminished fifth and minor second.
  • Ionian (Isnian): The system corresponding to the standard major scale.

• Modal Identifiers, Index Numbers, and Structural Notation

  • Modal groupings use specific structural headers, Roman numerals, and numeric index values:
  • Mode classification index: VIII
  • Modal diagram tag: IDMA
  • Theoretical exposure codes: EXPO and COD
  • Numerical tuning and frequency indices: 19, 350, 535+, 2160, and 8.

• Multilingual Modal Annotations and Historical Solfège Equivalents

  • Solfège base representations: do, Do, and هم دو.
  • Theoretical glosses and regional textual variants: Ге, يج دبس, мно-, дуро, and For.

Interval Classification, Harmonic Qualities, and Qualititative Types

• Perfect Intervals

  • Octaves: Expressed as Perfect Octave ($P8\text{th}$), octave notation ($R8\text{th}$), double-octave index ($88\text{th}$), or standard octave ($P8$).
  • Fifths: Expressed as Perfect Fifth ($P5\text{th}$), fifth notation ($PsTh$), or standard fifth ($P5$).
  • Fourths: Expressed as Perfect Fourth ($P4\text{th}$).

• Major and Minor Interval Qualities

  • Sixths: Major 6th ($M6$) and Minor 6th ($m6$ or $m$).
  • Thirds: Major 3rd ($M3$ or $M$) and Minor 3rd ($m3$ or $m$).
  • Seconds: Major 2nd ($M2$ or $M^2$) and Minor 2nd ($m2$ or $m$).
  • Sevenths: Major 7th ($M7$) and Minor 7th ($m7$ or $7$).
  • Quality shorthand indicators: $M$, $m$, $MM$, $Mm$, $Mb$, $E-$, $C$, $P$, and $D$.

• Harmonic Consonance and Dissonance Categories

  • Perfect Consonant ($\text{Perfect Consonant}$): Classifies intervals that possess full harmonic stability without standard resolution requirements, specifically $P8\text{th}$, $P5\text{th}$, and $P4th$.
  • Consonant ($\text{Consonant}$ or [consonant] / [Consonant): Includes both perfect consonances and imperfect consonances (major and minor thirds, major and minor sixths).
  • Dissonant ($\text{dissonan}$): Classifies intervals creating harmonic tension that require resolution, such as seconds, sevenths, and tritones.
  • Cross-linguistic and phonetic theoretical labels for interval qualities: Maya, Mun, Миш, тама, там, ма, тили, оф ю, ни фот, Bu, Φ, ΦΙ, ΦΦ, Ө, O, and す.

Advanced Interval Operations: Inversions and Compound Intervals

• Inversions of Intervals

  • Concept variants noted: inversions of intials, onversions of intwals, and inversims of intials.
  • Mathematical rule of interval inversion:
  • Subtraction principle: The sum of an original simple interval and its inversion always equals 9 ($\text{Original Interval} + \text{Inverted Interval} = 9$).
  • Formula for inverted interval size: $\text{Inverted Size} = 9 - \text{Original Size}$.
  • Quality reversal rules under inversion:
  • Perfect intervals ($P$) remain Perfect ($P$).
  • Major intervals ($M$) invert to Minor ($m$).
  • Minor intervals ($m$) invert to Major ($M$).
  • Consonant intervals ($\text{Consonant}$) remain consonant.
  • Dissonant intervals ($\text{dissonan}$) remain dissonant.

• Compound Intervals

  • Concept variants noted: compound intervals, Compound interat, and Compand intervals.
  • Structure and calculation:
  • A compound interval consists of an interval larger than a Perfect Octave ($P8\text{th}$).
  • Formula for simple interval derivation: $\text{Compound Size} - 7 = \text{Simple Size}$.
  • Formula for compound interval calculation: $\text{Simple Size} + 7 = \text{Compound Size}$ (for single-octave expansion).
  • Index numbers, offset codes, and scalar identifiers: 100, 104, 13, 20, 3, 6, 0, -1, 1, 7, and Byte.

Rhythmic Notation, Subdivision, and Counting Systems

• Metric Structure and Base Counts

  • Standard four-beat measure framework: 1234 and 1234.

• Eighth Note Types and Visual Notation

  • Eighth Notes (8th notes): Beats subdivided into two equal duration units.
  • Flagged Eighth Notes (Flagged): Individual eighth notes denoted with individual flags attached to their stems.
  • Barred Eighth Notes (Barred): Multiple eighth notes joined together using a horizontal or diagonal beam/bar across their stems.

• Counting Patterns and Rhythmic Subdivisions

  • Even subdivisions (standard pulse):
  • Standard continuous eighth-note counting: 1+23+4+ (representing $\text{1 and 2 and 3 and 4 and}$, written as $1 + 2 + 3 + 4 +$).
  • Syncopated and varied rhythmic count patterns:
  • Pattern A: 1+2314 (represented as $1 + 2 \quad 3 \quad 1 \quad 4$).
  • Pattern B: 1+2+34 (represented as $1 + 2 + 3 \quad 4$).
  • Pattern C: 1+23+4+ (represented as $1 + 2 \quad 3 + 4 +$).