>> In this lesson,
we're going to work with the modal scales.
And as a way of introduction,
let's look at an F major scale
with the b flat, of course,
and we have two other major modal scales,
or the term major would be defined by the type
of third scale degree that the scale has.
So in F-major scale is one that contains an,
A natural, because that would be the major third.
The modal scales that contain the
A natural would be the Lydian scale.
The F Lydian scale is like the F major scale,
except that the fourth scale degree
is a half-step higher.
So if there were a key signature here,
we would have to mark the b as a b natural.
But I did not use a key signature obviously over there,
so it really is not necessary.
But anyway, the F Lydian scale,
and it spelled L-Y-D-I-A-N Lydian,
is a very popular scale.
The B natural obviously is the note
that makes it different than an F major scale.
And so we've referred to the
B-natural as the characteristic note.
The characteristic note of
a Lydian scale is its fourth scale degree.
The note which was a half-step higher than it
would be if it were a regular major scale.
There is another form of
modal scale that uses a major third,
and that would be what we call the Mixolydian scale,
mixo, M-I-X-0, and then Lydian.
And we must put the B flat
back because in order to have the f Mixolydian scale,
you still have the A natural,
but we do need the b flat.
The Mixolydian scale utilizes a seventh scale degree,
which is a half-step lower,
or in this case it would be an E flat.
And so comparing to F major, of course,
where you would ordinarily have an E
natural the Mixolydian scale,
we utilize an E flat,
so we'll call the E flat the characteristic note of
the Mixolydian scale because it is the note that
sets it apart from a regular major scale.
And in both the case of Lydian and Mixolydian,
that one node which is different in the case of Lydian,
the fourth scale degree,
in the case of Mixolydian,
the seventh scale degree is enough to make
a very big difference in terms of the sound of the scale,
the sound of melodies that
were written using those scale,
and of course, the sound of
harmonies designed from those scales.
When we talk about minor,
the minor notes would be course,
those that contain a minor third.
So I've written out here a D natural minor scale.
And the third scale degree of a D minor scale,
of course, is an F Natural,
which would be the minor third.
And so we have four actual minor modes,
the one that we have here,
which we're referring to as natural minor,
is also known with
the name aeolian, A-E-O-L-I-A-N aeolian,
and it is the same scale at one point in music history,
the Aeolian scale was considered to be no more
important than what we
call the natural minor scale today,
the natural minor was developed along with major as
being more prominent or used more frequently.
So another minor scale,
which has the F Natural would be the Dorian scale.
That's a very popular scale obviously.
And that would be, of course,
where the sixth scale degree would be raised by one half step,
which would be a B natural instead of a B flat.
And that would be the scale that is
identified as the Dorian scale,
D-O-R-I-A-N. And notice that because
the sixth scale degree is half-step
higher than it would ordinarily be
in natural minor or aeolian,
this B natural becomes the characteristic note
because it is the note that
separates it from G natural minor,
which would be the scale that
we're more comfortable with.
This one note again,
makes quite a difference in
terms of the sound or the scale,
the sound of melodies and harmonies, and so forth.
There is a third minor scale
that shares the F as the third,
and it is identified as the Phrygian scale.
A strange spelling, I suppose
P-H-R-Y-G-I-A-N, pronounced Phrygian.
and In order to have a Phrygian scale here,
we'll have to put back the B flat,
which we had before in D natural minor.
But we will have to add a lowered second scale degree,
which would be the note E flat.
So here is your d Phrygian scale containing this E flat,
which is a lowered second scale degree,
which obviously is going to be the note that
separates the d Phrygian scale
from regular D natural minor.
And that E flat then becomes
the characteristic note that lowered second scale degree.
And a very unusual sound,
quite characteristic of Phrygian,
very different sounding.
And now one other minor mode,
that is one other mode that contains
the F as the third of the scale.
And that would be the Locrian scale,
L-O-C-R-I-A-N. And the Locrian scale keeps
the flatted second scale degree,
but also adds the lowered fifth scale degree.
So we have both the flat two,
and the flat five.
So since the second scale degree
was already lowered in Phrygian,
the Locrian flatted fifth
would be the characteristic note,
because no other D minor scale
is going to contain the note a flat,
with the exception, of course,
of the Locrian scale.
So that reviews the terminology we're going to use.
The F Major, of course, is the sound,
the major scale that we're very comfortable with.
[MUSIC] And so the Lydian,
which remember has the raised fourth scale degree,
[MUSIC] which sounds quite different.
[MUSIC] And the Mixolydian scale,
which has the lowered seventh scale degree.
[MUSIC]
And so the minor modes,
which started with the D aeolian,
which would be the same as D natural minor,
[MUSIC] which is a sound that we're very familiar with.
[MUSIC] And the Dorian scale is slightly different,
has the raised sixth scale degree.
[MUSIC] And the Phrygian scale,
which has that lowered second scale degree,
which is very strongly characteristic.
[MUSIC]
And finally, the Locrian scale with
has that lowered fifth scale degree as well,
which gives it a very dark foreboding sound, I think.