This has got a very similar pattern of tones and semitones to the major scale, but it is slightly different. If we start this process on the fifth degree, we get something called the Mixolydian mode. We get F, G, A, B, C, D, E, F, which is now called the Lydian mode. 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. So if we build a mode on the third degree. > Okay, again if we move up to the E, that's the third degree of C Major. This gives us a different pattern and a different sound. It's made up of the notes D, E, F, G, A, B, C back to D. If we go up to D, this is the second note of C Major, we get a mode called the Dorian mode. > Well, we already know that starting on C, we have a C Major scale. > 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. ![]() ![]() That is because I was orientating that melody around the A, around that aeolian mode that we just saw up on the stave. I think you can hear that, that is different from the Auld Lang Syne, or Twinkle Twinkle Little Star, or God Save the Queen, or something else like that. So, that's God Rest Ye Merry Gentlemen and Merry Christmas, if it is Christmas. This may be the wrong time of year for you, but. See, one of the amazing things about music is that, simply by reorientating ourselves around these notes in C-major, we can create different patterns and different kinds of melodies. Now, many of you may have heard of modes, especially if you visit a lot of rock guitar websites. 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 this is called the Natural minor scale and we'll talk more about this next week. So by taking A, as our new tonic what we see is that we actually still use all the same notes, but now we've got a different pattern of tones and semitones. 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 let's take a different tonic this time. So from this pool of notes we're now going to look at more scales beyond just the scale of C major.
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