THE MODES
5, 6, 7 OR 10?
IN THE COURSE OF THIS ARTICLE I WILL REFER TO THE C SCALE
Theoretically there are seven modes, but in reality perhaps there are six. In fact, the Locrian mode does not possess the perfect fifth (C-G) but instead possesses the tritone (C-Gb), for which this mode betrays the most important interval of the overtones and consequently, from a physical and acoustic point of view, it does not have the characteristics to be a mode, at least within the traditional conception of modes.
Perhaps there are five if we consider the fact that the Lydian mode is also theoretical because, although possessing the perfect fifth interval (C-G), it is not a diatonic mode; in fact, unlike the other modes, including Locrian, which possess two tonics (C-F), it possesses only one tonic Ā©. Can the Locrian therefore be considered a theoretical mode as well, since the absence of the two tonics does not allow it harmonic spatiality?
If we start from C Lydian, following the progression of modes in the sense of: "less tense ā more tense", which is universally considered accurate, we proceed with C Ionian, C Mixolydian, C Dorian, C Aeolian, C Phrygian, C Locrian.
At this point, the discussion would be concluded as we have listed the existing modes.
If we analyze the Lydian, Ionian, Mixolydian, Dorian, Aeolian, and Phrygian modes, we notice that they all possess the perfect fifth interval (C-G); the Locrian mode does not possess this interval but the tritone (C-Gb). At this point, if the Locrian is not accepted as a mode due to this characteristic, then there are six modes, but if it is accepted, then there are at least seven and perhaps more.
The reason for all this is that the tritone from the tonic (C-Gb) generates another perfect fifth interval; it is the Gb-Db interval.
Just as seven modes are born from the C-G interval, where the modal tonic and the tonal center coincide with the same note: C, from the Gb-Db interval generated by the Locrian mode
n, seven other modes are born in which the modal tonic is Gb but the tonal center is C.
Such modes are: Gb Lydian, Gb Ionian, Gb Mixolydian, Gb Dorian, Gb Aeolian, Gb Phrygian, Gb Locrian.
Gb Lydian is similar to C Locrian; Gb Locrian is similar to C Lydian.
From my point of view, I exclude the Lydian scales for the reason stated at the beginning of the article.
I exclude the Locrian scales for what has already been said.
The following are the 10 modal scales with a tonal center in C from my point of view.
C Ionian, C Mixolydian, C Dorian, C Aeolian, C Phrygian, Gb Ionian, Gb Mixolydian, Gb Dorian, Gb Aeolian, Gb Phrygian.
The perfect fifth interval C-G is so strong that it sustains the dissonances created by the superposition of modal scales born from a modal tonic other than C.
Modal harmony, viewed traditionally, contains the well-known modes, but if we broaden our views, other possible modes appear that make the transition from modal harmony to chromatic harmony physiological and rational, as the latter is a derivation of the former.
In my activity as a composer and pianist, I use these concepts daily.
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The perfect scale is the chromatic one, because why limit oneself to playing seven notes?