MODMOS scale: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

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: This revision was by author [[User:mbattaglia1|mbattaglia1]] and made on <tt>2011-03-14 00:18:55 UTC</tt>.

: This revision was by author [[User:mbattaglia1|mbattaglia1]] and made on <tt>2011-03-14 04:04:37 UTC</tt>.

: The original revision id was <tt>~~210151052~~</tt>.

: The original revision id was <tt>210178680</tt>.

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The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more "background" modes that fill in the cracks between the notes in the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most "similar" sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's [[@http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG|Modal Jazz Composition and Harmony.]]

Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find "proper" scale closures for some of the novel harmonic concepts that were being employed by

Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find "proper" scale closures for some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel.

Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are **Near-MOS's** in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with ~~lydian~~ and flattens the 7 to ~~lydian~~ b7, C D E F# G A Bb C is produced (commonly called "~~lydian~~ dominant"). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the "Hungarian Major" scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.

Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are **Near-MOS's** in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with Lydian and flattens the 7 to Lydian b7, C D E F# G A Bb C is produced (commonly called "Lydian dominant"). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the "Hungarian Major" scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.

A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as ~~mixolydian~~ #4, ~~lydian~~ #5, ~~phrygian~~ #6, ~~dorian~~ #7, etc, or alternatively ~~lydian~~ b7, ~~phrygian~~ b1, ~~dorian~~ b2, ~~ionian~~ b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.

A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as Mixolydian #4, Lydian #5, Phrygian #6, Dorian #7, etc, or alternatively Lydian b7, Phrygian b1, Dorian b2, Ionian b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.

We will see that it is possible to extend this paradigm to other MOS's than just 5L2s. Furthermore, we will see that a lot of the existing terminology, most notably the sharp (#) and flat (b) signs, can also fit into the extended structure in a mathematically rigorous way. Furthermore, the extensions to this paradigm have no need for recourse to ratios or Fokker Periodicity Blocks; the near-MOS's of an MOS can be viewed as inharmonic scale abstractions for purely melodic purposes.

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The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more &quot;background&quot; modes that fill in the cracks between the notes in the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most &quot;similar&quot; sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's <a class="wiki_link_ext" href="http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG" rel="nofollow" target="_blank">Modal Jazz Composition and Harmony.</a>

Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find &quot;proper&quot; scale closures for some of the novel harmonic concepts that were being employed by

Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find &quot;proper&quot; scale closures for some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel.

Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are Near-MOS's in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with ~~lydian~~ and flattens the 7 to ~~lydian~~ b7, C D E F# G A Bb C is produced (commonly called &quot;~~lydian~~ dominant&quot;). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the &quot;Hungarian Major&quot; scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.

Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are Near-MOS's in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with Lydian and flattens the 7 to Lydian b7, C D E F# G A Bb C is produced (commonly called &quot;Lydian dominant&quot;). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the &quot;Hungarian Major&quot; scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.

A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as ~~mixolydian~~ #4, ~~lydian~~ #5, ~~phrygian~~ #6, ~~dorian~~ #7, etc, or alternatively ~~lydian~~ b7, ~~phrygian~~ b1, ~~dorian~~ b2, ~~ionian~~ b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.

A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as Mixolydian #4, Lydian #5, Phrygian #6, Dorian #7, etc, or alternatively Lydian b7, Phrygian b1, Dorian b2, Ionian b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.

We will see that it is possible to extend this paradigm to other MOS's than just 5L2s. Furthermore, we will see that a lot of the existing terminology, most notably the sharp (#) and flat (b) signs, can also fit into the extended structure in a mathematically rigorous way. Furthermore, the extensions to this paradigm have no need for recourse to ratios or Fokker Periodicity Blocks; the near-MOS's of an MOS can be viewed as inharmonic scale abstractions for purely melodic purposes.

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:mbattaglia1|mbattaglia1]] and made on <tt>2011-03-14 00:18:55 UTC</tt>.<br>
+: This revision was by author [[User:mbattaglia1|mbattaglia1]] and made on <tt>2011-03-14 04:04:37 UTC</tt>.<br>
-: The original revision id was <tt>210151052</tt>.<br>
+: The original revision id was <tt>210178680</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
@@ Line 11: / Line 11: @@
 The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more "background" modes that fill in the cracks between the notes in the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most "similar" sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's [[@http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG|Modal Jazz Composition and Harmony.]]
-Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find "proper" scale closures for some of the novel harmonic concepts that were being employed by
+Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find "proper" scale closures for some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel.
-Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are **Near-MOS's** in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with lydian and flattens the 7 to lydian b7, C D E F# G A Bb C is produced (commonly called "lydian dominant"). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the "Hungarian Major" scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.
+Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are **Near-MOS's** in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with Lydian and flattens the 7 to Lydian b7, C D E F# G A Bb C is produced (commonly called "Lydian dominant"). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the "Hungarian Major" scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.
-A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as mixolydian #4, lydian #5, phrygian #6, dorian #7, etc, or alternatively lydian b7, phrygian b1, dorian b2, ionian b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.
+A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as Mixolydian #4, Lydian #5, Phrygian #6, Dorian #7, etc, or alternatively Lydian b7, Phrygian b1, Dorian b2, Ionian b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.
 We will see that it is possible to extend this paradigm to other MOS's than just 5L2s. Furthermore, we will see that a lot of the existing terminology, most notably the sharp (#) and flat (b) signs, can also fit into the extended structure in a mathematically rigorous way. Furthermore, the extensions to this paradigm have no need for recourse to ratios or Fokker Periodicity Blocks; the near-MOS's of an MOS can be viewed as inharmonic scale abstractions for purely melodic purposes.
@@ Line 70: / Line 70: @@
   The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more &amp;quot;background&amp;quot; modes that fill in the cracks between the notes in the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most &amp;quot;similar&amp;quot; sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's &lt;a class="wiki_link_ext" href="http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG" rel="nofollow" target="_blank"&gt;Modal Jazz Composition and Harmony.&lt;/a&gt;&lt;br /&gt;
 &lt;br /&gt;
-Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find &amp;quot;proper&amp;quot; scale closures for some of the novel harmonic concepts that were being employed by&lt;br /&gt;
+Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find &amp;quot;proper&amp;quot; scale closures for some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel.&lt;br /&gt;
 &lt;br /&gt;
-Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are &lt;strong&gt;Near-MOS's&lt;/strong&gt; in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with lydian and flattens the 7 to lydian b7, C D E F# G A Bb C is produced (commonly called &amp;quot;lydian dominant&amp;quot;). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the &amp;quot;Hungarian Major&amp;quot; scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.&lt;br /&gt;
+Many of the modes commonly used are modes of the melodic minor, harmonic minor, and harmonic major scales. These scales are all obtained by making a single chromatic alteration to the diatonic scale; they are &lt;strong&gt;Near-MOS's&lt;/strong&gt; in which only some interval classes fall into two sizes. Furthermore, all of the scales most often used in this fashion are proper. Propriety is so commonly seen that if a chromatic alteration produces a near-MOS that is improper, but is a subset of some other proper scale, the encompassing proper scale will be used. For instance, if one starts with Lydian and flattens the 7 to Lydian b7, C D E F# G A Bb C is produced (commonly called &amp;quot;Lydian dominant&amp;quot;). If one desires to raise the 2 to a #2, the resultant improper scale is produced - C D# E F# G A Bb C, sometimes called the &amp;quot;Hungarian Major&amp;quot; scale. In this case, musicians will commonly reframe this scale as a 7-note subset of the octatonic scale, C Db Eb E F# G A Bb C, which is proper.&lt;br /&gt;
 &lt;br /&gt;
-A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as mixolydian #4, lydian #5, phrygian #6, dorian #7, etc, or alternatively lydian b7, phrygian b1, dorian b2, ionian b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.&lt;br /&gt;
+A system of indexing exists for these near-MOS's - they have been given names which are often used in common parlance. The modes of melodic minor are generally indexed as Mixolydian #4, Lydian #5, Phrygian #6, Dorian #7, etc, or alternatively Lydian b7, Phrygian b1, Dorian b2, Ionian b3, which are equivalent. So in a sense, much of the modern jazz approach to modal harmony is already a theory of near-MOS; musicians are often taught this comprehensive system of indexing so as to learn how one scale can chromatically transform into another to aid in the fluid navigation of the 12-tet landscape in live improvisation.&lt;br /&gt;
 &lt;br /&gt;
 We will see that it is possible to extend this paradigm to other MOS's than just 5L2s. Furthermore, we will see that a lot of the existing terminology, most notably the sharp (#) and flat (b) signs, can also fit into the extended structure in a mathematically rigorous way. Furthermore, the extensions to this paradigm have no need for recourse to ratios or Fokker Periodicity Blocks; the near-MOS's of an MOS can be viewed as inharmonic scale abstractions for purely melodic purposes.&lt;br /&gt;