An Introduction to Modes: Part 1

by adminKFS on · Leave a comment

The term modal is often thrown around when talking about Celtic music. If you are wondering what exactly this term means and what it has to do with the tunes you are playing, I hope to clarify that with these next few posts. In some of my lessons I cover tunes in modal keys. In the videos, I briefly describe what the term modal means, but I did not want to bog down the online lesson with music theory. I thought the blog would be a better forum to elaborate a bit more on what ‘modal’ means. In part one of this post, I will describe what the modes are. In part two, I’ll discuss how modes relate to Celtic music.

What are modes?
Modes are simply just scales. There are seven modes that derive from the major scale. When we think of a scale, for example, the G major scale, we think of a specific territory: we are in the realm of G. A major scale is a pattern of intervals, more specially a specific pattern of whole steps and half steps. When the notes are played from G to G, this pattern produces a certain sound that we associate with a major ‘sound’. The major scale is actually the first of the seven modes. It’s called the Ionian mode.

G (1) A (2) B (3) C (4) D (5) E (6) F# (7) G

So what would happen if in the G major scale we didn’t play from G to G but instead, we played the same exact notes, starting from the second note of the scale, and ventured from A to A?

A B C D E F# G A

The sound is completely different. Instead of sounding major, it sounds more minor. This is the scale of A Dorian. Dorian is the second mode because it is derived from the second note of the major scale. Now that we are in the territory of A instead of G, we think of it as a new scale beginning on A – A Dorian.

Let’s compare this to the A major scale.
A B C# D E F# G# A

In A Dorian, the C (third note of the scale) and G (seventh note) are natural, compared to C# and G# in A major. Because they are a half step down from where they would be in the normal scale, we refer to these notes as a flat 3 and flat 7.

We can do this with all of the notes from the G major scale. If we start on the third note, the B, we get the third mode, called the Phrygian mode.

B Phrygian:
B C D E F# G A B
Compared to the B major scale
Flat 2,3,5,6,7

Starting on the fourth note of the scale, we get a very bright sounding mode called Lydian.

C Lydian:
C D E F# G A B C
Compared to C major, the F is raised by a half step. This is called a sharp four. (F is the fourth note of the C major).

The fifth mode, staring on D, is called Mixolydian

D Mixolydian:
D E F# G A B C D
Compared to D Major scale
Flat 7

The sixth mode is called Aeolian. Starting on the sixth note of the G major scale we get E Aeolian. This is also called the natural minor scale. Because it shares the same key signature as the parent major scale, it is called the relative minor.

E Aeolian:
E F# G A B C D E
Compared to E major
Flat 3,6,7

The seventh and last mode is the darkest sounding mode. It’s called the Locrian mode.

F# Locrian:
F# G A B C D E F#
compared to F# major scale
Flat 2,3,5,6,7

You may be wondering why I am comparing all of these modes to the major scale. If I know how each mode differs from the major scale, then I can find any specific mode without having to refer to its parent scale. For example, if I wanted to know the scale of A Mixolydian, I don’t have to go through the steps finding it as the fifth mode of D major. All I need to know is the key signature of A major and know that compared to the major scale, the Mixolydian mode has a flat 7.

A Major:
A B C# D E F# G# A
Lower the seventh note by a half step: G# becomes G natural, and I am left with:
A Mixolydian
A B C# D E F# G A

I hope this post has been helpful in getting to know the modes. Play through each of these modes and listen to how the different scales sound. Which ones sound major? Which ones sound minor? In my next post, I will explain which of these modes relates to Celtic music and other relevant information.

Reading music? Musical theory? Do I need to know…

by adminKFS on · 4 comments

Should I learn how to read music?
As musicians of traditional music, we place a great deal of emphasis on learning music by ear. When you primarily learn by ear, you not only pick up a melody but you also absorb all the other nuances that go along with a style that are difficult to teach. However, reading music is an extremely valuable skill. It’s true that Cape Breton music is mainly transmitted orally. But much of the repertoire has been learned by fiddlers searching through tune books. The majority of Cape Breton fiddlers read music. Tune books have been a valuable and treasured resource for Cape Breton fiddlers ever since they started to become more available around the time of WWII. I love going through tune books not only to find new tunes, but also to find tunes that I frequently hear but don’t play. Yes, learning by ear is important, but reading music is still a valuable asset.

Do I need to learn music theory?
Ultimately, your ear is your best guide through the learning process. You most likely know some theory already – you know what major keys sound like versus minor keys. You just might not know what exactly a ‘key” is or what major and minor really mean. In my personal experience, I had a little theory knowledge growing up, mostly learned from my piano lessons. I studied it more in depth in high school and college. Music theory has helped me understand traditional music in a different way, especially in my piano accompaniment. It helped me understand and be able to explain the sounds I already knew. It is a tool that helps me teach traditional music. Having said that, an in depth knowledge of music theory is not necessary to be a good fiddle player. But it does help to have some basic skills, for example, a knowledge of key signatures and chords. If you are playing with an accompanist, it is helpful to know what key you are playing in and some basic chords to accompany the tunes with. Ultimately, having some theory empowers you to help you learn things on your own. In my teaching I like to focus on these skills to help give students more perspective and understanding about the tunes and music they are playing.

Should I take classical violin lessons?
We all know of many traditional players of various fiddle traditions who are self taught, hold their instrument in all sorts of different ways, yet are virtuosic in their traditions. In Cape Breton, many fiddlers are and have been self taught and play brilliantly. Think of the instrument simply a tool to produce music. But that doesn’t mean you should just think that you should ignore some classical technique. It’s especially valuable if you are having trouble getting good sounds out of your instrument. In these situations, taking classical lessons can definitely help you play more efficiently. Classical training can help improve skills ranging from a good bow hold and string crossing to good intonation.

What are some other concerns you have about learning fiddle music? Please feel free to post about your experience.

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