Does this have enough internally defined terms to challenge scientology or is my music theory rusty?
Brief modal explanation:
Doh Re Mi Fa So La Ti Doh
In western music, it is so universal, it is called the “Major Scale”. Written music uses it to define ‘key signatures’, chord names are derived from how the notes deviate from a standard “1st note, third note, fifth note of the Major Scale” triad sequence, for some reason, and going from the fifth note to the first note sounds so fucking good that all music, anywhere, ever, does it over and over again.
On a piano, from C to C, these are the white keys.
Some are right next to each-other, others have a black key (sharp or flat) in the middle. Like this:
Doh | Re | Mi Fa | So | La | Ti Doh
So take that radical concept which western music has been using since Bach or earlier, and start a scale on the Re, instead of the Doh, of the keyboard.
The black keys move! :monocle:
Do this for every note in the major scale and you end up with seven scales, long ago given Greek names and called in modern theory, Church Modes, or just Modes.
Ionian: C D E F G A B (C) Dorian: D E F G A B C (D) Phrygian: E F G A B C D (E) Lydian: F G A B C D E (F) Mixolydian: G A B C D E F (G) Aeolian: A B C D E F G (A) Locrian: B C D E F G A (B)
The crazy idea here, is that western music is wrong, and that the Lydian scale is actually the one everyone should think about. The way it rotates away, the Lydian scale is one note away from our generic Doh, Re, Me… But when you move that one note, you make a scale, that you can re-arrange into repeated five-one intervals. Remember how I said western music loves the five-one interval? So does eastern music. So does all music for that matter. In the west, a five-one is called a Perfect Fifth. The first note is the Tonic, the fifth is the Dominant. Er, wait, Lydian-chromatic says that this is based on Gravity.
Gravity. Fields.
I like V-I movement enough to take it with a grain of salt.
