|
scales and modes
|
View this Thread in Original format
| ClearVision |
Can anyone explain the typical emotional responces that are associated with each of the modes? Dorian, Aeolion, Mixolydian, etc?
Also, how common is it in trance music to suddenly change key's or scales? Of course, there shouldn't be any rules that say you can or cannot do something like suddenly change from a major to a minor scale in the middle of the song, but I'm not sure how often that actually happens with trance. Say you have a generally uplifting tune and you want to have a relatively quite section with an altered and subdued melody, and then return to the original key to bring the emotion back up. I would assume its pretty reasonable to do something like that as long as the song starts and ends on the same key? |
|
|
| davidbuhau |
emotional responses come more from chord progression than modes imho...
i mean, we can make something happy or sad in any key/mode...
i'm sure there have been many books written on this subject though, surely the library would have more information than this board would.
david |
|
|
| cryophonik |
Generally speaking, and I emphasize 'generally', the major modes (i.e., have a major chord as the root), which include Ionian, Lydian, and Mixolydian, are used to evoke positive or happy emotions, whereas the minor modes (Aeolian, Dorian, and Phrygian) are used to evoke negative feelings of sadness, negativity, fear, etc. Locrian is very dissonant and typically used to build a feeling of suspense, uncertainty, etc. It's rarely used in any form of dance/pop music.
However, the mode/key of a song plays only one part in determining the emotive content of a song. Melodies, arrangement, dynamics, lyrics, instruments, etc. also contribute to the feeling. Trance is a perfect example of this seemingly paradox. The majority of trance tunes are written in natural minor (Aeolian mode), but the overall message and emotion conveyed by the music is uplifting and positive.
Changes in the key or mode of a song can be a great way to make it more emotional, if it's done well. While there are no firm rules on how to do it, there are some transitions that work well, and some that don't, depending on the song. For example, modulating from a minor key to its relative major is fairly common and simple. Likewise, modulating from a minor key to its parallel major (or vice versa) is a good way to change emotions in a song, for example, from a negative/sad verse to a positive/uplifting chorus/hook.
HTH. |
|
|
| ClearVision |
| Are there any good examples of songs that take this complexity to the next level? Key or scale changes? |
|
|
|
|
