{"id":468,"date":"2023-05-11T19:02:17","date_gmt":"2023-05-11T19:02:17","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modes-other-scales\/"},"modified":"2025-08-12T22:06:56","modified_gmt":"2025-08-12T22:06:56","slug":"modes-other-scales","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modes-other-scales\/","title":{"raw":"Modes and other scales","rendered":"Modes and other scales"},"content":{"raw":"<div class=\"modes-&amp;-other-scales\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 8<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How to construct the four most commonly used [pb_glossary id=\"2854\"]diatonic[\/pb_glossary] church modes outside of [pb_glossary id=\"1563\"]ionian[\/pb_glossary] (major) and [pb_glossary id=\"1564\"]aeolian[\/pb_glossary] (natural minor)<\/li>\r\n \t<li>How to construct [pb_glossary id=\"1366\"]pentatonic[\/pb_glossary] and [pb_glossary id=\"1365\"]whole tone[\/pb_glossary] scales<\/li>\r\n \t<li>How these scales work in musical contexts<\/li>\r\n \t<li>How to sing these scales<\/li>\r\n \t<li>How to identify these scales by ear<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Modes\"><\/a>Modes<\/h1>\r\n<p class=\"import-Normal\">The names of the [pb_glossary id=\"2854\"]diatonic[\/pb_glossary] (seven-note) [pb_glossary id=\"1189\"]modes[\/pb_glossary] come from a system developed in the Middle Ages by monks to classify different chants by their melodic properties. The original understanding of what constitutes a mode involved not just a particular configuration of whole and half steps, but also particular turns of phrase and special melodic characteristics. Modal music gradually fell out of fashion in the early Baroque period, as what we call common practice tonality (the major and minor scales) slowly set in. Late nineteenth- and twentieth-century composers returned to using modes as a way to find \u201cnew\u201d compositional techniques, but generally they used them as pitch collections or scale types, without any particular set of melodic turns of phrase as they once had in medieval times. Modes are used today in some concert music as well as in popular genres, especially jazz.<\/p>\r\n\r\n<\/div>\r\nAccording to this classification system, another term for the major scale is [pb_glossary id=\"1563\"]ionian[\/pb_glossary], and the modal term for natural minor is [pb_glossary id=\"1564\"]aeolian[\/pb_glossary]. Since we already studied these scales in previous chapters, this section focuses on the four most common modes outside of major and minor: [pb_glossary id=\"1196\"]dorian[\/pb_glossary], [pb_glossary id=\"1195\"]phrygian[\/pb_glossary], [pb_glossary id=\"1191\"]lydian[\/pb_glossary], and [pb_glossary id=\"1192\"]mixolydian[\/pb_glossary]. The [pb_glossary id=\"1562\"]locrian[\/pb_glossary] mode is part of this theoretical system, but it is used infrequently, so we will not study it here.\r\n<div class=\"modes-&amp;-other-scales\">\r\n<p class=\"import-Normal\">We can understand each mode as fitting into one of two broad categories: pseudo-major and pseudo-minor. The pseudo-major modes, [pb_glossary id=\"1191\"]lydian[\/pb_glossary] and [pb_glossary id=\"1192\"]mixolydian[\/pb_glossary], resemble the major scale in that they feature a major third between scale degrees [latex]\\hat{1}[\/latex] and [latex]\\hat{3}[\/latex], whereas the pseudo-minor modes resemble the natural minor scale because they feature a minor third between scale degrees [latex]\\hat{1}[\/latex] and [latex]\\hat{3}[\/latex]. Example 8\u20111 shows the major scale and two modes that feature a major third between scale degrees [latex]\\hat{1}[\/latex] and [latex]\\hat{3}[\/latex].<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1191\"]Lydian[\/pb_glossary] is similar to major except that its subdominant scale degree is raised by one chromatic half step, and thus uses \u201cfi\u201d instead of \u201cfa.\u201d [pb_glossary id=\"1192\"]Mixolydian[\/pb_glossary] is similar to major except that it uses the subtonic scale degree (\u201cte\u201d) instead of the leading tone (\u201cti\u201d).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 8\u20111. C major, lydian, and mixolydian scales<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1.png\" alt=\"image of C major, lydian, and mixolydian scales in staff notation\" class=\"alignnone\" width=\"1189\" height=\"666\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 8\u20112 shows the natural minor scale and two modes that feature a minor third between scale degrees [latex]\\hat{1}[\/latex] and [latex]\\hat{3}[\/latex]. [pb_glossary id=\"1195\"]Phrygian[\/pb_glossary] is similar to natural minor except that its supertonic scale degree is lowered by one chromatic half step, and thus uses \u201cra\u201d instead of \u201cre.\u201d [pb_glossary id=\"1196\"]Dorian[\/pb_glossary] is similar to natural minor except that its submediant scale degree is raised by one chromatic half step, using \u201cla\u201d instead of \u201cle.\u201d<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 8\u20112. C natural minor, phrygian, and dorian scales<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2.png\" alt=\"image of C natural minor, phrygian, and dorian scales in staff notation\" class=\"alignnone\" width=\"1302\" height=\"663\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T16 Intro to modes (6:51)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/2AVQkex5aCY[\/embed]\r\n<p class=\"import-Normal\">This video provides an overview of the four modal scales--dorian, phrygian, lydian, and mixolydian.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<span>Each mode can also be mapped onto the white keys of the piano as a relative mode to C major (no sharps or flats), as shown in Example 8-3.<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 8-3. Relative modes to C major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modes-other-scales\/ex-8-3-new\/\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-582x1024.png\" alt=\"image of modal scales\" class=\"wp-image-1566 size-large aligncenter\" width=\"582\" height=\"1024\" \/><\/a><span style=\"background-color: #ffff00\"><\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-8.3-relative-modes.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Modes in context: the lydian mode\"><\/a>Modes in context: the lydian mode<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T17 Exploring the lydian mode (7:30)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/kchA7LVpGfs[\/embed]\r\n<p class=\"import-Normal\">This video examines the use of lydian mode in a piece by Francis Poulenc, the theme song from the TV show <em>The Simpsons<\/em>, Bj\u00f6rk's \u201cUnravel,\u201d and two versions of Carole King\u2019s unpopular song \u201cHe Hit Me\u201d by the Crystals and Grizzly Bear. <span>To go through these examples on your own, see Exercise 8-1.<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 8-1 Lydian in context\"><\/a>EXERCISE 8-1 Lydian in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 8-1 Lydian in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">The lydian scale is like major with a raised scale degree [latex]\\hat{4}[\/latex] (fi).<\/p>\r\n<p class=\"import-Normal\"><strong>C <\/strong><strong>lydian<\/strong><strong>. <\/strong>Write the C lydian scale below or on a separate piece of staff paper. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"15\"]\r\n<p class=\"import-Normal\">Listen to and study its use in the following examples.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20111 Francis Poulenc, \u201cValse,\u201d mm. 1\u201316<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-1024x447.png\" alt=\"image of score\" width=\"1024\" height=\"447\" class=\"alignnone wp-image-5695 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-Poulenc-Valse.mp3\"][\/audio]\r\n\r\nLearn about French composer <strong>Francis Poulenc<\/strong> (1899\u20131963) by reading this <a class=\"rId30\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.22202\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Myriam Chim\u00e8nes and Roger Nichols.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20112. Danny Elfman, theme from <em>The Simpsons<\/em>, 0:00\u20130:16<em>\r\n<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.2-Simpsons-Theme.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6YCBTYhsZZgze0AfNcbdZS?si=24367cf768e042a2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American composer <strong>Danny <\/strong><strong>Elfman<\/strong> (b. 1953) by reading the <a class=\"rId31\" href=\"https:\/\/www.dannyelfman.com\/about\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> from his website.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20113. Bj\u00f6rk, \u201cUnravel,\u201d 0:00\u20130:38<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.3-Unravel.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1TtmEexOoL27br2q8ifxBl?si=cdb0f0699d764581\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId32\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>G <\/strong><strong>lydian<\/strong><strong>. <\/strong>After writing the G lydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u20114. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"16\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20114. The Crystals, \u201cHe Hit Me,\u201d 0:00\u20130:30<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.4-He-Hit-Me-And-It-Felt-Like-A-Kiss.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5TdCUrQdTWZoTSAZH7Pfup?si=7005d3e8b6bf416c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American songwriter <strong>Carole King<\/strong> (b. 1942) by reading this <a class=\"rId33\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2241980\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Richard D. Driver.\r\n\r\nLearn about 1960s American vocal quintet <strong>the Crystals<\/strong> by reading this <a class=\"rId34\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2234865\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by John Clemente.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>F <\/strong><strong>lydian<\/strong><strong>. <\/strong>Compare the previous example to Worksheet example 8\u20115 after writing the F lydian scale below or on a separate sheet of staff paper. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"17\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20115. Grizzly Bear, \u201cHe Hit Me,\u201d 0:00\u20130:36<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.5-Grizzly-Bear-He-Hit-Me.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4QtfEsn9cc392Mb9t8tx9j?si=c4f52bc7e98f480d\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 21st-century American rock band <strong>Grizzly Bear<\/strong> by reading this last.fm <a class=\"rId35\" href=\"https:\/\/www.last.fm\/music\/Grizzly+Bear\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex8.1-Lydian-in-context-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.1 Lydian in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Modes in context: the mixolydian mode\"><\/a>Modes in context: the mixolydian mode<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T18 Exploring the mixolydian mode (6:16)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/lkFV1jrBGsM[\/embed]\r\n<p class=\"import-Normal\">This video shows how the mixolydian mode is used in music by Claude Debussy, the Beatles, and Guns N' Roses. <span>To go through these examples on your own, see Exercise 8-2.<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 8-2 Mixolydian in context\"><\/a>EXERCISE 8-2 Mixolydian in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 8-2 Mixolydian in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">The mixolydian scale is like major with a lowered scale degree [latex]\\hat{7}[\/latex] (te).<\/p>\r\n<p class=\"import-Normal\"><strong>F[latex]\\sharp[\/latex] mixolydian. <\/strong>After writing the F[latex]\\sharp[\/latex] mixolydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u20116. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"18\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20116. Claude Debussy, <em>Trois Chansons<\/em>, no. 1, mm. 1\u20135<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-866x1024.png\" alt=\"image of score\" width=\"866\" height=\"1024\" class=\"alignnone wp-image-5715 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.6-Debussy-Trois-Chansons.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Robert Shaw Festival Singers, on <a href=\"https:\/\/open.spotify.com\/track\/51YnPlts89zYJZx888YGgV?si=6c12f606983f4905\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/assemble_translations.html?LanguageId=7&amp;SongCycleId=528\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"https:\/\/www.lieder.net\">lieder.net<\/a>.\r\n\r\nLearn about French composer <strong>Claude Debussy<\/strong> (1862\u20131918) by reading this <a class=\"rId36\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07353\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Fran\u00e7ois Lesure and Roy Howat.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>E mixolydian. <\/strong>After writing the E mixolydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u20117. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"19\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20117. The Beatles, \u201cDay Tripper,\u201d 0:00\u20130:24 (audio)<\/p>\r\n\r\n<\/header>\r\n<div><\/div>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.7-Beatles-Day-Tripper.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/29b2b96jozyD9GPCkOrVLs?si=a1fb7b4ceb924a79\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century English rock band <strong>the Beatles<\/strong> and their music by reading this <a class=\"rId37\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>C[latex]\\sharp[\/latex] mixolydian. <\/strong>After writing the C[latex]\\sharp[\/latex] mixolydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8-8. The chord progression in this example is derived from the C[latex]\\sharp[\/latex] mixolydian scale. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"20\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8-8. Guns N\u2019 Roses, \u201cSweet Child O\u2019 Mine,\u201d 0:15\u20130:31 (audio)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.8-Guns-n-roses-sweet-child.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7snQQk1zcKl8gZ92AnueZW?si=13bef43557374fa1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 1980s American rock band <strong>Guns N\u2019 Roses<\/strong> by reading this <a class=\"rId38\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2241369\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article,<\/span><\/a> written by Rob Jovanovic.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex8.2-Mixolydian-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.2 Mixolydian in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Modes in context: the phrygian mode\"><\/a>Modes in context: the phrygian mode<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T19 Exploring the phrygian mode (8:16)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/U5JU5_WrQX4[\/embed]\r\n<p class=\"import-Normal\">This video explores examples of the phrygian mode in music by Benjamin Britten, Brian Eno, Bj\u00f6rk, and Britney Spears. <span>To go through these examples on your own, see Exercise 8-3.<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 8-3 Phrygian in context\"><\/a>EXERCISE 8-3 Phrygian in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 8-3 Phrygian in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">The phrygian scale is like natural minor with a lowered scale degree [latex]\\hat{2}[\/latex] (ra).<\/p>\r\n<p class=\"import-Normal\"><strong>G <\/strong><strong>p<\/strong><strong>hrygian<\/strong><strong>. <\/strong>After writing the G phrygian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet examples 8\u20119 and 8-10. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"21\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u20119. Benjamin Britten, \u201cIn Freezing Winter Night,\u201d opening<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.9-Britten.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Choir of King's College, Cambridge, on <a href=\"https:\/\/open.spotify.com\/track\/5kHOXvboGs4V8H1ce4Jgcz?si=9dc6dfeaa341471f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English composer <strong>Benjamin Britten<\/strong> (1913\u20131976) by reading this <a class=\"rId39\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46435\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Philip Brett and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8-10. Brian Eno, <em>Neroli<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the track on <a href=\"https:\/\/open.spotify.com\/track\/6oW8CEEQjzVVC1ddFVnUUe?si=3a8136c34d554096\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English composer, sound artist, and producer <strong>Brian Eno<\/strong> (b. 1948) by reading this <a class=\"rId40\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2256532\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Buckley and revised by Cecilia Sun.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>C[latex]\\sharp[\/latex] <\/strong><strong>p<\/strong><strong>hrygian<\/strong><strong>. <\/strong>After writing the C[latex]\\sharp[\/latex] phrygian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201111. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"22\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8-11. Transcription of Bj\u00f6rk, \u201cWhere Is the Line,\u201d 0:00\u20130:19<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8.png\" alt=\"image of score\" class=\"aligncenter\" width=\"1430\" height=\"664\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.10-Bjork-Where-Is-the-Line.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5ARQ5rxBfKcBO63c4v6sw7?si=af2aa04c7b5c4f12\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId32\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<strong>A <\/strong><strong>p<\/strong><strong>hrygian<\/strong><strong>. <\/strong>After writing the A phrygian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201112. This example features the descending phrygian scale, and lowered scale degree [latex]\\hat{2}[\/latex] occurs on the word \u201cseek\u201d and the first syllable of \u201cAmy.\u201d Select the right arrow over the image to view the answer.\r\n\r\n[h5p id=\"23\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201112. Britney Spears, \u201cIf U Seek Amy,\u201d 0:45\u20131:00<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.11-If-U-Seek-Amy.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2hdy9Wt9qp7M7d0U3ossu2?si=3b45c1ef2ac14427\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American pop singer <strong>Britney Spears<\/strong> (b. 1981) by reading this <a class=\"rId41\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289463\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jessica Brown.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.3-Phrygian-in-context-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.3 Phrygian in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1 class=\"import-Normal\"><a id=\"Modes in context: the dorian mode\"><\/a>Modes in context: the dorian mode<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T20 Exploring the dorian mode (8:38)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/dP-vLgqY23c[\/embed]\r\n<p class=\"import-Normal\">In this video we explore the use of the dorian mode in music by B\u00e9la Bart\u00f3k, Miles Davis, Radiohead, and Led Zeppelin. <span>To go through these examples on your own, see Exercise 8-4.<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 8-4 Dorian in context\"><\/a>EXERCISE 8-4 Dorian in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 8-4 Dorian in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">The dorian scale is like natural minor with raised scale degree [latex]\\hat{6}[\/latex] (la).<\/p>\r\n<p class=\"import-Normal\"><strong>A <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the A dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201113. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"24\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8-13. B\u00e9la Bart\u00f3k, <em>Little Pieces for Children<\/em>, no. 3<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-1024x725.png\" alt=\"image of score\" width=\"1024\" height=\"725\" class=\"alignnone wp-image-5722 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-Bartok.mp3\"][\/audio]\r\n\r\nLearn about Hungarian composer <strong>B\u00e9la <\/strong><strong>Bart\u00f3k<\/strong> (1881\u20131945) by reading this <a class=\"rId42\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40686\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Malcolm Gillies.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>D <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the D dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201114. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"25\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8-14. Miles Davis, \u201cSo What,\u201d 0:34\u20131:05<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.14-Davis-So-what.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4vLYewWIvqHfKtJDk8c8tq?si=7b3769f1eed94908\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American jazz trumpeter and bandleader <strong>Miles Davis<\/strong> (1926\u20131991) by reading this <a class=\"rId43\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07310\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Barry Kernfeld.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>A[latex]\\flat[\/latex] <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the A[latex]\\flat[\/latex] dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201115. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"26\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201115. Radiohead, \u201c15 Step,\u201d 0:41\u20131:00<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.15-Radiohead-15-Step.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6dsq7Nt5mIFzvm5kIYNORy?si=bece901f371d46c3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId44\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>E <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the E dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201116. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"27\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201116. Led Zeppelin, \u201cWhole Lotta Love,\u201d 0:00\u20130:40<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.16-Led-Zeppelin-Whole-Lotta-Love.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1uBMgVAUYLnzVL5uQT88FP?si=1a0fcd8f82144f0e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Led Zeppelin<\/strong> by reading this <a class=\"rId45\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.45837\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Susan Fast.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex8.4-Dorian-in-context-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.4 Dorian in context<\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.2-Mixolydian-in-context.pdf\" target=\"_blank\" rel=\"noopener\"><\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Modes in action\"><\/a>Modes in action<\/h1>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T21 Singing demo of the modes in action (5:00)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/cE5amD456Qw[\/embed]\r\n<p class=\"import-Normal\">This video shows how to take a tune in major and transform it into the four diatonic modes: lydian, mixolydian, dorian, and phrygian.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n<p class=\"import-Normal\">Want practice identifying different scales by ear? Try these drills:<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId52\" target=\"_blank\" href=\"https:\/\/tonesavvy.com\/music-practice-exercise\/217\/scale-mode-ear-training-game\/\" rel=\"noopener\"><span class=\"import-Hyperlink\">Scale ID ear trainer<\/span><\/a> (tone savvy)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId53\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/ear-scale\" rel=\"noopener\"><span class=\"import-Hyperlink\">Scale ID ear trainer<\/span><\/a> (musictheory.net)<\/p>\r\n\r\n<\/div>\r\n<h1><a id=\"Whole tone scales\"><\/a>Whole tone scales<\/h1>\r\n<p class=\"import-Normal\">Scales other than major, minor, and the modes exist, and in fact, you can even invent your own scales by rearranging the order of half and whole steps.<\/p>\r\n<p class=\"import-Normal\">Two other types of scales are found in some Western classical and popular music: the [pb_glossary id=\"1365\"]whole tone scale[\/pb_glossary] and the [pb_glossary id=\"1366\"]pentatonic scale[\/pb_glossary]. The whole tone scale consists of a series of whole steps, with no half steps at all. <span>There are only two distinct whole tone scales (shown in Example 8-4), since starting on any note produces one collection of pitches or the other.<\/span> The notes in parentheses are alternate spellings of certain members of the scale. Since there are no half steps in the whole tone scale, it is difficult to perceive any sense of tonic or strong primacy of one note over another. Because of this, the scale is flexible in terms of spelling, unlike major scales, minor scales, and the diatonic modes.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 8\u20114. Whole tone scales<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10.png\" alt=\"whole tone scales written on the staff in bass clef\" class=\"aligncenter\" width=\"745\" height=\"406\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.3-whole-tone-scales.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T22 Whole tone scales (8:55)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/mEtEWVHnJ7I[\/embed]\r\n<p class=\"import-Normal\">This video introduces the concept of whole tone scales and presents examples of its appearance in works by Mozart, Debussy, Kraftwerk, and Bart\u00f3k. <span>To go through these examples on your own, see Exercise 8-5.<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 8-5 Whole tone scales in context\"><\/a>EXERCISE 8-5 Whole tone scales in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 8-5 Whole tone scales in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><span>The whole tone scale is built entirely on whole steps.<\/span><\/p>\r\n<p class=\"import-Normal\"><strong>G whole tone. <\/strong>After writing the G whole tone scale below or on a separate sheet of staff paper, study and listen to its use in mm. 75\u201377 in Worksheet example 8\u201117. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"28\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201117. W. A. Mozart, Ein Musikalischer Spa\u00df, K. 522, mvt. 3, mm. 74\u201381, violin 1<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-1024x276.png\" alt=\"\" class=\"alignnone size-large wp-image-1372\" width=\"1024\" height=\"276\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-A-Musical-Joke-Ein-Musikalischer-Spass-K.522_-III-Adagio-Cantabile-2.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Chamber Music Society of Lincoln Center, on <a href=\"https:\/\/open.spotify.com\/track\/273OUtgg2nUWBBjkEyxGba?si=c594e47e60a44573\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId46\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>E whole tone. <\/strong>After writing the E whole tone scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8-18. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"29\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8-18. Claude Debussy, <em>Voiles<\/em>, mm. 1\u20134<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image12.png\" alt=\"image\" class=\"aligncenter\" width=\"576px\" height=\"183.282099737533px\" \/><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.18-Debussy-Voiles.-Modere.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Arturo Benedetti Michelangeli, on <a href=\"https:\/\/open.spotify.com\/track\/79u6jB48RTQM6AwuxEie3j?si=66f2e78c2d6b4b61\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about French composer <strong>Claude Debussy<\/strong> (1862\u20131918) by reading this <a class=\"rId36\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07353\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Fran\u00e7ois Lesure and Roy Howat.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>F[latex]\\sharp[\/latex] whole tone. <\/strong>After writing the F[latex]\\sharp[\/latex] whole tone scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8\u201119. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"30\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201119. Kraftwerk, \u201cSpacelab,\u201d 0:00\u20130:32<\/p>\r\n\r\n<\/header>\r\n<div><\/div>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.19-Kraftwerk-Spacelab.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/48Q7pVDuBivnR5rdf6RGYT?si=23a9ecdea32e4e67\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German electronic rock group <strong>Kraftwerk<\/strong> by reading <a class=\"rId47\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.45939\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">this Oxford Music Online article<\/span><\/a>, written by David Buckley.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>C whole tone. <\/strong>After writing the C whole tone scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8\u201120. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"31\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8-20. B\u00e9la Bart\u00f3k, <em>Mikrokosmos<\/em>, no. 136<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to the full track, performed by Gyorgy Sandor, on <a href=\"https:\/\/open.spotify.com\/track\/183vcN5VYs2UPWmVId0uV6?si=1c1a8685585d4b30\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Hungarian composer <strong>B\u00e9la <\/strong><strong>Bart\u00f3k<\/strong> (1881\u20131945) by reading this <a class=\"rId42\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40686\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Malcolm Gillies.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.5-Whole-tone-scales-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.5 Whole tone scales in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Pentatonic scales\"><\/a>Pentatonic scales<\/h1>\r\n<p class=\"import-Normal\">Most generally, the term [pb_glossary id=\"1366\"]pentatonic scale[\/pb_glossary] means any five-note scale. Usually when people refer to the pentatonic scale, they mean the [pb_glossary id=\"1388\"]major pentatonic[\/pb_glossary] scale, which is equivalent to the subset of scale degrees [latex]\\hat{1}[\/latex], [latex]\\hat{2}[\/latex], [latex]\\hat{3}[\/latex], [latex]\\hat{5}[\/latex], and [latex]\\hat{6}[\/latex] from the major scale. The major pentatonic scale has no half steps and is commonly used in American folk melodies and spirituals. The [pb_glossary id=\"1392\"]minor pentatonic[\/pb_glossary] scale is equivalent to the subset of scale degrees [latex]\\hat{1}[\/latex], [latex]\\hat{3}[\/latex], [latex]\\hat{4}[\/latex], [latex]\\hat{5}[\/latex], and [latex]\\hat{7}[\/latex] from the natural minor scale, and it also has no half steps. Both pentatonic scales appear in Example 8\u20115.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 8\u20115. Major and minor pentatonic scales<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image13.png\" alt=\"pentatonic scales written on the staff in bass clef\" class=\"aligncenter\" width=\"755\" height=\"385\" \/><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.4-pentatonic.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T23 Pentatonic scales (9:23)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/s21YRuznNa8[\/embed]\r\n<p class=\"import-Normal\">This video introduces the major and minor pentatonic scales and explores their use in music by Amy Beach and recordings by Willie Nelson, Bob Marley and the Wailers, and Justin Timberlake. <span>To go through these examples on your own, see Exercise 8-6.<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n\r\n\r\n<h1><a id=\"EXERCISE 8-6 Pentatonic scales in context\"><\/a>EXERCISE 8-6 Pentatonic scales in context<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 8-6 Pentatonic scales in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">The major pentatonic scale uses the following subset from the major scale: scale degrees [latex]\\hat{1}[\/latex], [latex]\\hat{2}[\/latex], [latex]\\hat{3}[\/latex], [latex]\\hat{5}[\/latex], and [latex]\\hat{6}[\/latex]. The minor pentatonic scale uses the following subset from the natural minor scale: scale degrees [latex]\\hat{1}[\/latex], [latex]\\hat{3}[\/latex], [latex]\\hat{4}[\/latex], [latex]\\hat{5}[\/latex], and [latex]\\hat{7}[\/latex].<\/p>\r\n<p class=\"import-Normal\"><strong>E[latex]\\flat[\/latex] major and C minor pentatonic.<\/strong> Write the E[latex]\\flat[\/latex] major and C minor pentatonic scales below or on a separate sheet of staff paper. Notice that they are [pb_glossary id=\"2860\"]relative scales[\/pb_glossary], with different tonics but the same collection of notes. Listen to and study the use of these scales in Worksheet example 8\u201121.<\/p>\r\n<p class=\"import-Normal\">Write the E[latex]\\flat[\/latex] major pentatonic scale below or on a separate sheet of staff paper. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"32\"]\r\n<p class=\"import-Normal\">Write the C minor pentatonic scale below or on a separate sheet of staff paper. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"33\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201121. Amy Beach, \"Shena Van,\" op. 56, no. 4, mm. 11\u201312<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image14.png\" alt=\"image\" class=\"aligncenter\" width=\"332px\" height=\"80px\" \/><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.21-Beach-Sheena-Van.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Katherine Kelton and Catherine Bringerud, on <a href=\"https:\/\/open.spotify.com\/track\/2pnYN2c2h5HX30WttDoKcx?si=3caa9fd9f4bb4e76\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American composer <strong>Amy Beach<\/strong> (1867\u20131944) by reading this <a class=\"rId48\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2248268\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Adrienne Fried Block and revised by E. Douglas Bomberger.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>D major pentatonic. <\/strong>After writing the D major pentatonic scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8\u201122. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"34\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201122. Justin Timberlake, \u201cSet the Mood Prelude,\" 0:08\u20130:32<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.22-Timberlake.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/39q69v4D15oSshBmlJrkmW?si=58a46dc42504492f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American pop singer <strong>Justin Timberlake<\/strong> (b. 1981) by reading this <a class=\"rId51\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289571\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Miles White.\r\n\r\n<\/div>\r\n<\/div>\r\n<strong>F major pentatonic. <\/strong>After writing the F major pentatonic scale, study and listen to its use in Worksheet example 8\u201123. Select the right arrow over the image to view the answer.\r\n<p class=\"import-Normal\">[h5p id=\"35\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201123. John Newton, \u201cAmazing Grace\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-1024x273.png\" alt=\"\" class=\"alignnone size-large wp-image-1407\" width=\"1024\" height=\"273\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Jessye Norman, on <a href=\"https:\/\/open.spotify.com\/track\/2204qlFz7dbmM8YLcBxfZF?si=ec5ea558f28e4c3c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American soprano <strong>Jessye Norman<\/strong> (1945\u20132019) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2252060\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Martin Bernheimer, Alan Blythe, and Karen M. Bryan.\r\n\r\n<\/div>\r\n<\/div>\r\n<strong>G major pentatonic. <\/strong>After writing the G major pentatonic scale, study and listen to its use in Worksheet example 8\u201124. Select the right arrow over the image to view the answer.\r\n<p class=\"import-Normal\">[h5p id=\"36\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 8\u201124. \u201cGo Tell It on the Mountain,\u201d performed by Bob Marley &amp; The Wailers, 0:20\u20130:39<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.24-Go-Tell-It.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/136o6j9wt7QmXNm0EY8Xgn?si=9f8e991c04d6412a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Jamaican musician <strong>Bob Marley<\/strong> (1945\u20131981) by reading this <a class=\"rId50\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.49859\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Stephen Davis.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.6-Pentatonic-scales-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.6 Pentatonic scales in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n\r\n<h1><a id=\"EXERCISE 8-7 Modes and scales\"><\/a>EXERCISE 8-7 Modes and scales<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 8-7 Modes and scales<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Construct the scales on the staves below or on a separate sheet of staff paper. Bracket the location of all half steps.<\/p>\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image16.png\" alt=\"image\" class=\"aligncenter\" width=\"624px\" height=\"638.8px\" \/><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.7-Modes-and-scales.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.7 Modes and scales<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 8<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId55\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/09\/Modes-and-Other-scales.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy's primer on modes and other scales<\/span><\/a><\/p>\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-diatonic-modes-and-the-chromatic-scale\/\" target=\"_blank\" rel=\"noopener\">Chelsea Hamm's chapter on diatonic modes and the chromatic \u201cscale\u201d<\/a> (Open Music Theory)\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/diatonic-modes\/\" target=\"_blank\" rel=\"noopener\">Mark Gotham and Megan Lavengood's chapter on diatonic modes<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"modes-&amp;-other-scales\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 8<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How to construct the four most commonly used <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_2854\">diatonic<\/a> church modes outside of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1563\">ionian<\/a> (major) and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1564\">aeolian<\/a> (natural minor)<\/li>\n<li>How to construct <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1366\">pentatonic<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1365\">whole tone<\/a> scales<\/li>\n<li>How these scales work in musical contexts<\/li>\n<li>How to sing these scales<\/li>\n<li>How to identify these scales by ear<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a id=\"Modes\"><\/a>Modes<\/h1>\n<p class=\"import-Normal\">The names of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_2854\">diatonic<\/a> (seven-note) <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1189\">modes<\/a> come from a system developed in the Middle Ages by monks to classify different chants by their melodic properties. The original understanding of what constitutes a mode involved not just a particular configuration of whole and half steps, but also particular turns of phrase and special melodic characteristics. Modal music gradually fell out of fashion in the early Baroque period, as what we call common practice tonality (the major and minor scales) slowly set in. Late nineteenth- and twentieth-century composers returned to using modes as a way to find \u201cnew\u201d compositional techniques, but generally they used them as pitch collections or scale types, without any particular set of melodic turns of phrase as they once had in medieval times. Modes are used today in some concert music as well as in popular genres, especially jazz.<\/p>\n<\/div>\n<p>According to this classification system, another term for the major scale is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1563\">ionian<\/a>, and the modal term for natural minor is <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1564\">aeolian<\/a>. Since we already studied these scales in previous chapters, this section focuses on the four most common modes outside of major and minor: <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1196\">dorian<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1195\">phrygian<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1191\">lydian<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1192\">mixolydian<\/a>. The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1562\">locrian<\/a> mode is part of this theoretical system, but it is used infrequently, so we will not study it here.<\/p>\n<div class=\"modes-&amp;-other-scales\">\n<p class=\"import-Normal\">We can understand each mode as fitting into one of two broad categories: pseudo-major and pseudo-minor. The pseudo-major modes, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1191\">lydian<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1192\">mixolydian<\/a>, resemble the major scale in that they feature a major third between scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, whereas the pseudo-minor modes resemble the natural minor scale because they feature a minor third between scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>. Example 8\u20111 shows the major scale and two modes that feature a major third between scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>.<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1191\">Lydian<\/a> is similar to major except that its subdominant scale degree is raised by one chromatic half step, and thus uses \u201cfi\u201d instead of \u201cfa.\u201d <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1192\">Mixolydian<\/a> is similar to major except that it uses the subtonic scale degree (\u201cte\u201d) instead of the leading tone (\u201cti\u201d).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 8\u20111. C major, lydian, and mixolydian scales<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1.png\" alt=\"image of C major, lydian, and mixolydian scales in staff notation\" class=\"alignnone\" width=\"1189\" height=\"666\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 8\u20112 shows the natural minor scale and two modes that feature a minor third between scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1195\">Phrygian<\/a> is similar to natural minor except that its supertonic scale degree is lowered by one chromatic half step, and thus uses \u201cra\u201d instead of \u201cre.\u201d <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1196\">Dorian<\/a> is similar to natural minor except that its submediant scale degree is raised by one chromatic half step, using \u201cla\u201d instead of \u201cle.\u201d<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 8\u20112. C natural minor, phrygian, and dorian scales<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2.png\" alt=\"image of C natural minor, phrygian, and dorian scales in staff notation\" class=\"alignnone\" width=\"1302\" height=\"663\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T16 Intro to modes (6:51)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T16 Intro to Modes\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/2AVQkex5aCY?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video provides an overview of the four modal scales&#8211;dorian, phrygian, lydian, and mixolydian.<\/p>\n<\/div>\n<\/div>\n<p><span>Each mode can also be mapped onto the white keys of the piano as a relative mode to C major (no sharps or flats), as shown in Example 8-3.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 8-3. Relative modes to C major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/modes-other-scales\/ex-8-3-new\/\" target=\"_blank\" rel=\"noopener\"><\/p>\n<div class=\"cc-attribution-box-container\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-582x1024.png\" alt=\"image of modal scales\" class=\"wp-image-1566 size-large aligncenter\" width=\"582\" height=\"1024\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-582x1024.png 582w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-170x300.png 170w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-768x1352.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-872x1536.png 872w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-1163x2048.png 1163w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-65x114.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-225x396.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-8.3-NEW-350x616.png 350w\" sizes=\"auto, (max-width: 582px) 100vw, 582px\" \/><\/p>\n<div class=\"cc-attribution-box\"> <\/div>\n<\/div>\n<p><\/a><span style=\"background-color: #ffff00\"><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-8.3-relative-modes.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-8.3-relative-modes.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-8.3-relative-modes.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Modes in context: the lydian mode<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T17 Exploring the lydian mode (7:30)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T17 Exploring the Lydian Mode Video\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/kchA7LVpGfs?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video examines the use of lydian mode in a piece by Francis Poulenc, the theme song from the TV show <em>The Simpsons<\/em>, Bj\u00f6rk&#8217;s \u201cUnravel,\u201d and two versions of Carole King\u2019s unpopular song \u201cHe Hit Me\u201d by the Crystals and Grizzly Bear. <span>To go through these examples on your own, see Exercise 8-1.<\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 8-1 Lydian in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 8-1 Lydian in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">The lydian scale is like major with a raised scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (fi).<\/p>\n<p class=\"import-Normal\"><strong>C <\/strong><strong>lydian<\/strong><strong>. <\/strong>Write the C lydian scale below or on a separate piece of staff paper. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-15\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-15\" class=\"h5p-iframe\" data-content-id=\"15\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.1 thru 8.3 C Lydian\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Listen to and study its use in the following examples.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20111 Francis Poulenc, \u201cValse,\u201d mm. 1\u201316<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-1024x447.png\" alt=\"image of score\" width=\"1024\" height=\"447\" class=\"alignnone wp-image-5695 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-1024x447.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-300x131.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-768x336.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-1536x671.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-2048x895.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-65x28.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-225x98.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-rev-350x153.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-Poulenc-Valse.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-Poulenc-Valse.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.1-Poulenc-Valse.mp3<\/a><\/audio><\/p>\n<p>Learn about French composer <strong>Francis Poulenc<\/strong> (1899\u20131963) by reading this <a class=\"rId30\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.22202\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Myriam Chim\u00e8nes and Roger Nichols.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20112. Danny Elfman, theme from <em>The Simpsons<\/em>, 0:00\u20130:16<em><br \/>\n<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.2-Simpsons-Theme.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.2-Simpsons-Theme.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.2-Simpsons-Theme.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6YCBTYhsZZgze0AfNcbdZS?si=24367cf768e042a2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American composer <strong>Danny <\/strong><strong>Elfman<\/strong> (b. 1953) by reading the <a class=\"rId31\" href=\"https:\/\/www.dannyelfman.com\/about\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> from his website.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20113. Bj\u00f6rk, \u201cUnravel,\u201d 0:00\u20130:38<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.3-Unravel.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.3-Unravel.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.3-Unravel.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1TtmEexOoL27br2q8ifxBl?si=cdb0f0699d764581\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId32\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>G <\/strong><strong>lydian<\/strong><strong>. <\/strong>After writing the G lydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u20114. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-16\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-16\" class=\"h5p-iframe\" data-content-id=\"16\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.4 G Lydian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20114. The Crystals, \u201cHe Hit Me,\u201d 0:00\u20130:30<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.4-He-Hit-Me-And-It-Felt-Like-A-Kiss.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.4-He-Hit-Me-And-It-Felt-Like-A-Kiss.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.4-He-Hit-Me-And-It-Felt-Like-A-Kiss.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5TdCUrQdTWZoTSAZH7Pfup?si=7005d3e8b6bf416c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American songwriter <strong>Carole King<\/strong> (b. 1942) by reading this <a class=\"rId33\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2241980\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Richard D. Driver.<\/p>\n<p>Learn about 1960s American vocal quintet <strong>the Crystals<\/strong> by reading this <a class=\"rId34\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2234865\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by John Clemente.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>F <\/strong><strong>lydian<\/strong><strong>. <\/strong>Compare the previous example to Worksheet example 8\u20115 after writing the F lydian scale below or on a separate sheet of staff paper. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-17\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-17\" class=\"h5p-iframe\" data-content-id=\"17\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.5 F Lydian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20115. Grizzly Bear, \u201cHe Hit Me,\u201d 0:00\u20130:36<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.5-Grizzly-Bear-He-Hit-Me.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.5-Grizzly-Bear-He-Hit-Me.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.5-Grizzly-Bear-He-Hit-Me.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4QtfEsn9cc392Mb9t8tx9j?si=c4f52bc7e98f480d\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 21st-century American rock band <strong>Grizzly Bear<\/strong> by reading this last.fm <a class=\"rId35\" href=\"https:\/\/www.last.fm\/music\/Grizzly+Bear\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">article<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex8.1-Lydian-in-context-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.1 Lydian in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Modes in context: the mixolydian mode<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T18 Exploring the mixolydian mode (6:16)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T18 Exploring the Mixolydian Mode\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/lkFV1jrBGsM?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video shows how the mixolydian mode is used in music by Claude Debussy, the Beatles, and Guns N&#8217; Roses. <span>To go through these examples on your own, see Exercise 8-2.<\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 8-2 Mixolydian in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 8-2 Mixolydian in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">The mixolydian scale is like major with a lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (te).<\/p>\n<p class=\"import-Normal\"><strong>F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> mixolydian. <\/strong>After writing the F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> mixolydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u20116. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-18\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-18\" class=\"h5p-iframe\" data-content-id=\"18\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.6 F-sharp mixolydian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20116. Claude Debussy, <em>Trois Chansons<\/em>, no. 1, mm. 1\u20135<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-866x1024.png\" alt=\"image of score\" width=\"866\" height=\"1024\" class=\"alignnone wp-image-5715 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-866x1024.png 866w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-254x300.png 254w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-768x908.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-1298x1536.png 1298w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-1731x2048.png 1731w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-65x77.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-225x266.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6-350x414.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/WE-8.6.png 1864w\" sizes=\"auto, (max-width: 866px) 100vw, 866px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.6-Debussy-Trois-Chansons.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.6-Debussy-Trois-Chansons.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.6-Debussy-Trois-Chansons.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Robert Shaw Festival Singers, on <a href=\"https:\/\/open.spotify.com\/track\/51YnPlts89zYJZx888YGgV?si=6c12f606983f4905\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/assemble_translations.html?LanguageId=7&amp;SongCycleId=528\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"https:\/\/www.lieder.net\">lieder.net<\/a>.<\/p>\n<p>Learn about French composer <strong>Claude Debussy<\/strong> (1862\u20131918) by reading this <a class=\"rId36\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07353\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Fran\u00e7ois Lesure and Roy Howat.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>E mixolydian. <\/strong>After writing the E mixolydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u20117. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-19\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-19\" class=\"h5p-iframe\" data-content-id=\"19\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.7 E mixolydian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20117. The Beatles, \u201cDay Tripper,\u201d 0:00\u20130:24 (audio)<\/p>\n<\/header>\n<div><\/div>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.7-Beatles-Day-Tripper.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.7-Beatles-Day-Tripper.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.7-Beatles-Day-Tripper.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/29b2b96jozyD9GPCkOrVLs?si=a1fb7b4ceb924a79\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century English rock band <strong>the Beatles<\/strong> and their music by reading this <a class=\"rId37\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> mixolydian. <\/strong>After writing the C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> mixolydian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8-8. The chord progression in this example is derived from the C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> mixolydian scale. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-20\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-20\" class=\"h5p-iframe\" data-content-id=\"20\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.8 C-sharp mixolydian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8-8. Guns N\u2019 Roses, \u201cSweet Child O\u2019 Mine,\u201d 0:15\u20130:31 (audio)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.8-Guns-n-roses-sweet-child.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.8-Guns-n-roses-sweet-child.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.8-Guns-n-roses-sweet-child.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7snQQk1zcKl8gZ92AnueZW?si=13bef43557374fa1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 1980s American rock band <strong>Guns N\u2019 Roses<\/strong> by reading this <a class=\"rId38\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2241369\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article,<\/span><\/a> written by Rob Jovanovic.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex8.2-Mixolydian-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.2 Mixolydian in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Modes in context: the phrygian mode<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T19 Exploring the phrygian mode (8:16)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"T19 Exploring the Phrygian Mode\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/U5JU5_WrQX4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores examples of the phrygian mode in music by Benjamin Britten, Brian Eno, Bj\u00f6rk, and Britney Spears. <span>To go through these examples on your own, see Exercise 8-3.<\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 8-3 Phrygian in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 8-3 Phrygian in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">The phrygian scale is like natural minor with a lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (ra).<\/p>\n<p class=\"import-Normal\"><strong>G <\/strong><strong>p<\/strong><strong>hrygian<\/strong><strong>. <\/strong>After writing the G phrygian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet examples 8\u20119 and 8-10. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-21\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-21\" class=\"h5p-iframe\" data-content-id=\"21\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.9 and 8.10 G phrygian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u20119. Benjamin Britten, \u201cIn Freezing Winter Night,\u201d opening<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.9-Britten.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.9-Britten.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.9-Britten.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Choir of King&#8217;s College, Cambridge, on <a href=\"https:\/\/open.spotify.com\/track\/5kHOXvboGs4V8H1ce4Jgcz?si=9dc6dfeaa341471f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English composer <strong>Benjamin Britten<\/strong> (1913\u20131976) by reading this <a class=\"rId39\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46435\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Philip Brett and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8-10. Brian Eno, <em>Neroli<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the track on <a href=\"https:\/\/open.spotify.com\/track\/6oW8CEEQjzVVC1ddFVnUUe?si=3a8136c34d554096\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English composer, sound artist, and producer <strong>Brian Eno<\/strong> (b. 1948) by reading this <a class=\"rId40\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2256532\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Buckley and revised by Cecilia Sun.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> <\/strong><strong>p<\/strong><strong>hrygian<\/strong><strong>. <\/strong>After writing the C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> phrygian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201111. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-22\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-22\" class=\"h5p-iframe\" data-content-id=\"22\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.11 C-sharp phrygian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8-11. Transcription of Bj\u00f6rk, \u201cWhere Is the Line,\u201d 0:00\u20130:19<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8.png\" alt=\"image of score\" class=\"aligncenter\" width=\"1430\" height=\"664\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.10-Bjork-Where-Is-the-Line.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.10-Bjork-Where-Is-the-Line.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.10-Bjork-Where-Is-the-Line.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5ARQ5rxBfKcBO63c4v6sw7?si=af2aa04c7b5c4f12\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId32\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.<\/p>\n<\/div>\n<\/div>\n<p><strong>A <\/strong><strong>p<\/strong><strong>hrygian<\/strong><strong>. <\/strong>After writing the A phrygian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201112. This example features the descending phrygian scale, and lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> occurs on the word \u201cseek\u201d and the first syllable of \u201cAmy.\u201d Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-23\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-23\" class=\"h5p-iframe\" data-content-id=\"23\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.12 A phrygian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201112. Britney Spears, \u201cIf U Seek Amy,\u201d 0:45\u20131:00<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.11-If-U-Seek-Amy.mp3?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.11-If-U-Seek-Amy.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.11-If-U-Seek-Amy.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2hdy9Wt9qp7M7d0U3ossu2?si=3b45c1ef2ac14427\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American pop singer <strong>Britney Spears<\/strong> (b. 1981) by reading this <a class=\"rId41\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289463\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jessica Brown.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.3-Phrygian-in-context-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.3 Phrygian in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\n<\/div>\n<\/div>\n<h1 class=\"import-Normal\"><a><\/a>Modes in context: the dorian mode<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T20 Exploring the dorian mode (8:38)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-5\" title=\"T20 Exploring the Dorian Mode\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/dP-vLgqY23c?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">In this video we explore the use of the dorian mode in music by B\u00e9la Bart\u00f3k, Miles Davis, Radiohead, and Led Zeppelin. <span>To go through these examples on your own, see Exercise 8-4.<\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 8-4 Dorian in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 8-4 Dorian in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">The dorian scale is like natural minor with raised scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (la).<\/p>\n<p class=\"import-Normal\"><strong>A <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the A dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201113. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-24\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-24\" class=\"h5p-iframe\" data-content-id=\"24\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.13 A dorian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8-13. B\u00e9la Bart\u00f3k, <em>Little Pieces for Children<\/em>, no. 3<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-1024x725.png\" alt=\"image of score\" width=\"1024\" height=\"725\" class=\"alignnone wp-image-5722 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-1024x725.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-300x212.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-768x543.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-1536x1087.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-2048x1449.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-65x46.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-225x159.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-350x248.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-Bartok.mp3?_=15\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-Bartok.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.13-Bartok.mp3<\/a><\/audio><\/p>\n<p>Learn about Hungarian composer <strong>B\u00e9la <\/strong><strong>Bart\u00f3k<\/strong> (1881\u20131945) by reading this <a class=\"rId42\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40686\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Malcolm Gillies.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>D <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the D dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201114. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-25\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-25\" class=\"h5p-iframe\" data-content-id=\"25\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.14 D dorian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8-14. Miles Davis, \u201cSo What,\u201d 0:34\u20131:05<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.14-Davis-So-what.mp3?_=16\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.14-Davis-So-what.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.14-Davis-So-what.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4vLYewWIvqHfKtJDk8c8tq?si=7b3769f1eed94908\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American jazz trumpeter and bandleader <strong>Miles Davis<\/strong> (1926\u20131991) by reading this <a class=\"rId43\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07310\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Barry Kernfeld.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201115. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-26\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-26\" class=\"h5p-iframe\" data-content-id=\"26\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.15 A flat dorian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201115. Radiohead, \u201c15 Step,\u201d 0:41\u20131:00<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-17\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.15-Radiohead-15-Step.mp3?_=17\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.15-Radiohead-15-Step.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.15-Radiohead-15-Step.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6dsq7Nt5mIFzvm5kIYNORy?si=bece901f371d46c3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId44\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>E <\/strong><strong>dorian<\/strong><strong>. <\/strong>After writing the E dorian scale below or on a separate sheet of staff paper, listen to and study its use in Worksheet example 8\u201116. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-27\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-27\" class=\"h5p-iframe\" data-content-id=\"27\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.16 E dorian\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201116. Led Zeppelin, \u201cWhole Lotta Love,\u201d 0:00\u20130:40<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-18\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.16-Led-Zeppelin-Whole-Lotta-Love.mp3?_=18\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.16-Led-Zeppelin-Whole-Lotta-Love.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.16-Led-Zeppelin-Whole-Lotta-Love.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1uBMgVAUYLnzVL5uQT88FP?si=1a0fcd8f82144f0e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Led Zeppelin<\/strong> by reading this <a class=\"rId45\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.45837\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Susan Fast.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex8.4-Dorian-in-context-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.4 Dorian in context<\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.2-Mixolydian-in-context.pdf\" target=\"_blank\" rel=\"noopener\"><\/a><\/div>\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Modes in action<\/h1>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T21 Singing demo of the modes in action (5:00)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-6\" title=\"T21 Singing Demo of the Modes in Action\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/cE5amD456Qw?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video shows how to take a tune in major and transform it into the four diatonic modes: lydian, mixolydian, dorian, and phrygian.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p class=\"import-Normal\">Want practice identifying different scales by ear? Try these drills:<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId52\" target=\"_blank\" href=\"https:\/\/tonesavvy.com\/music-practice-exercise\/217\/scale-mode-ear-training-game\/\" rel=\"noopener\"><span class=\"import-Hyperlink\">Scale ID ear trainer<\/span><\/a> (tone savvy)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId53\" target=\"_blank\" href=\"https:\/\/www.musictheory.net\/exercises\/ear-scale\" rel=\"noopener\"><span class=\"import-Hyperlink\">Scale ID ear trainer<\/span><\/a> (musictheory.net)<\/p>\n<\/div>\n<h1><a><\/a>Whole tone scales<\/h1>\n<p class=\"import-Normal\">Scales other than major, minor, and the modes exist, and in fact, you can even invent your own scales by rearranging the order of half and whole steps.<\/p>\n<p class=\"import-Normal\">Two other types of scales are found in some Western classical and popular music: the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1365\">whole tone scale<\/a> and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1366\">pentatonic scale<\/a>. The whole tone scale consists of a series of whole steps, with no half steps at all. <span>There are only two distinct whole tone scales (shown in Example 8-4), since starting on any note produces one collection of pitches or the other.<\/span> The notes in parentheses are alternate spellings of certain members of the scale. Since there are no half steps in the whole tone scale, it is difficult to perceive any sense of tonic or strong primacy of one note over another. Because of this, the scale is flexible in terms of spelling, unlike major scales, minor scales, and the diatonic modes.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 8\u20114. Whole tone scales<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10.png\" alt=\"whole tone scales written on the staff in bass clef\" class=\"aligncenter\" width=\"745\" height=\"406\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-19\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.3-whole-tone-scales.mp3?_=19\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.3-whole-tone-scales.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.3-whole-tone-scales.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T22 Whole tone scales (8:55)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-7\" title=\"T22 Whole Tone Scales\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/mEtEWVHnJ7I?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the concept of whole tone scales and presents examples of its appearance in works by Mozart, Debussy, Kraftwerk, and Bart\u00f3k. <span>To go through these examples on your own, see Exercise 8-5.<\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 8-5 Whole tone scales in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 8-5 Whole tone scales in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><span>The whole tone scale is built entirely on whole steps.<\/span><\/p>\n<p class=\"import-Normal\"><strong>G whole tone. <\/strong>After writing the G whole tone scale below or on a separate sheet of staff paper, study and listen to its use in mm. 75\u201377 in Worksheet example 8\u201117. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-28\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-28\" class=\"h5p-iframe\" data-content-id=\"28\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.17 G whole tone\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201117. W. A. Mozart, Ein Musikalischer Spa\u00df, K. 522, mvt. 3, mm. 74\u201381, violin 1<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-1024x276.png\" alt=\"\" class=\"alignnone size-large wp-image-1372\" width=\"1024\" height=\"276\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-1024x276.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-300x81.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-768x207.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-1536x413.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-2048x551.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-225x61.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-Mozart-K522-350x94.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-20\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-A-Musical-Joke-Ein-Musikalischer-Spass-K.522_-III-Adagio-Cantabile-2.mp3?_=20\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-A-Musical-Joke-Ein-Musikalischer-Spass-K.522_-III-Adagio-Cantabile-2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.17-A-Musical-Joke-Ein-Musikalischer-Spass-K.522_-III-Adagio-Cantabile-2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Chamber Music Society of Lincoln Center, on <a href=\"https:\/\/open.spotify.com\/track\/273OUtgg2nUWBBjkEyxGba?si=c594e47e60a44573\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId46\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>E whole tone. <\/strong>After writing the E whole tone scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8-18. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-29\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-29\" class=\"h5p-iframe\" data-content-id=\"29\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.18 E whole tone\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8-18. Claude Debussy, <em>Voiles<\/em>, mm. 1\u20134<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image12.png\" alt=\"image\" class=\"aligncenter\" width=\"576px\" height=\"183.282099737533px\" \/><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-21\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.18-Debussy-Voiles.-Modere.mp3?_=21\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.18-Debussy-Voiles.-Modere.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.18-Debussy-Voiles.-Modere.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Arturo Benedetti Michelangeli, on <a href=\"https:\/\/open.spotify.com\/track\/79u6jB48RTQM6AwuxEie3j?si=66f2e78c2d6b4b61\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about French composer <strong>Claude Debussy<\/strong> (1862\u20131918) by reading this <a class=\"rId36\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.07353\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Fran\u00e7ois Lesure and Roy Howat.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> whole tone. <\/strong>After writing the F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> whole tone scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8\u201119. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-30\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-30\" class=\"h5p-iframe\" data-content-id=\"30\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.19 F-sharp whole tone\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201119. Kraftwerk, \u201cSpacelab,\u201d 0:00\u20130:32<\/p>\n<\/header>\n<div><\/div>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-22\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.19-Kraftwerk-Spacelab.mp3?_=22\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.19-Kraftwerk-Spacelab.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.19-Kraftwerk-Spacelab.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/48Q7pVDuBivnR5rdf6RGYT?si=23a9ecdea32e4e67\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German electronic rock group <strong>Kraftwerk<\/strong> by reading <a class=\"rId47\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.45939\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">this Oxford Music Online article<\/span><\/a>, written by David Buckley.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>C whole tone. <\/strong>After writing the C whole tone scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8\u201120. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-31\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-31\" class=\"h5p-iframe\" data-content-id=\"31\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.20 C whole tone\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8-20. B\u00e9la Bart\u00f3k, <em>Mikrokosmos<\/em>, no. 136<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to the full track, performed by Gyorgy Sandor, on <a href=\"https:\/\/open.spotify.com\/track\/183vcN5VYs2UPWmVId0uV6?si=1c1a8685585d4b30\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Hungarian composer <strong>B\u00e9la <\/strong><strong>Bart\u00f3k<\/strong> (1881\u20131945) by reading this <a class=\"rId42\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40686\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Malcolm Gillies.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.5-Whole-tone-scales-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.5 Whole tone scales in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Pentatonic scales<\/h1>\n<p class=\"import-Normal\">Most generally, the term <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1366\">pentatonic scale<\/a> means any five-note scale. Usually when people refer to the pentatonic scale, they mean the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1388\">major pentatonic<\/a> scale, which is equivalent to the subset of scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> from the major scale. The major pentatonic scale has no half steps and is commonly used in American folk melodies and spirituals. The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_1392\">minor pentatonic<\/a> scale is equivalent to the subset of scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> from the natural minor scale, and it also has no half steps. Both pentatonic scales appear in Example 8\u20115.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 8\u20115. Major and minor pentatonic scales<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image13.png\" alt=\"pentatonic scales written on the staff in bass clef\" class=\"aligncenter\" width=\"755\" height=\"385\" \/><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-23\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.4-pentatonic.mp3?_=23\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.4-pentatonic.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.4-pentatonic.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T23 Pentatonic scales (9:23)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-8\" title=\"T23 Pentatonic Scales\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/s21YRuznNa8?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the major and minor pentatonic scales and explores their use in music by Amy Beach and recordings by Willie Nelson, Bob Marley and the Wailers, and Justin Timberlake. <span>To go through these examples on your own, see Exercise 8-6.<\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 8-6 Pentatonic scales in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 8-6 Pentatonic scales in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">The major pentatonic scale uses the following subset from the major scale: scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>. The minor pentatonic scale uses the following subset from the natural minor scale: scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>.<\/p>\n<p class=\"import-Normal\"><strong>E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and C minor pentatonic.<\/strong> Write the E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major and C minor pentatonic scales below or on a separate sheet of staff paper. Notice that they are <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_468_2860\">relative scales<\/a>, with different tonics but the same collection of notes. Listen to and study the use of these scales in Worksheet example 8\u201121.<\/p>\n<p class=\"import-Normal\">Write the E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major pentatonic scale below or on a separate sheet of staff paper. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-32\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-32\" class=\"h5p-iframe\" data-content-id=\"32\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.21a E-flat major pentatonic\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">Write the C minor pentatonic scale below or on a separate sheet of staff paper. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-33\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-33\" class=\"h5p-iframe\" data-content-id=\"33\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.21b C minor pentatonic\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201121. Amy Beach, &#8220;Shena Van,&#8221; op. 56, no. 4, mm. 11\u201312<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image14.png\" alt=\"image\" class=\"aligncenter\" width=\"332px\" height=\"80px\" \/><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-24\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.21-Beach-Sheena-Van.mp3?_=24\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.21-Beach-Sheena-Van.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.21-Beach-Sheena-Van.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Katherine Kelton and Catherine Bringerud, on <a href=\"https:\/\/open.spotify.com\/track\/2pnYN2c2h5HX30WttDoKcx?si=3caa9fd9f4bb4e76\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American composer <strong>Amy Beach<\/strong> (1867\u20131944) by reading this <a class=\"rId48\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2248268\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Adrienne Fried Block and revised by E. Douglas Bomberger.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>D major pentatonic. <\/strong>After writing the D major pentatonic scale below or on a separate sheet of staff paper, study and listen to its use in Worksheet example 8\u201122. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-34\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-34\" class=\"h5p-iframe\" data-content-id=\"34\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.22 D major pentatonic\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201122. Justin Timberlake, \u201cSet the Mood Prelude,&#8221; 0:08\u20130:32<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-25\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.22-Timberlake.mp3?_=25\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.22-Timberlake.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.22-Timberlake.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/39q69v4D15oSshBmlJrkmW?si=58a46dc42504492f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American pop singer <strong>Justin Timberlake<\/strong> (b. 1981) by reading this <a class=\"rId51\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289571\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Miles White.<\/p>\n<\/div>\n<\/div>\n<p><strong>F major pentatonic. <\/strong>After writing the F major pentatonic scale, study and listen to its use in Worksheet example 8\u201123. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-35\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-35\" class=\"h5p-iframe\" data-content-id=\"35\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.23 F major pentatonic\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201123. John Newton, \u201cAmazing Grace\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-1024x273.png\" alt=\"\" class=\"alignnone size-large wp-image-1407\" width=\"1024\" height=\"273\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-1024x273.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-300x80.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-768x205.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-1536x410.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-2048x546.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-225x60.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace-350x93.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-26\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace.mp3?_=26\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.23-Amazing-Grace.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Jessye Norman, on <a href=\"https:\/\/open.spotify.com\/track\/2204qlFz7dbmM8YLcBxfZF?si=ec5ea558f28e4c3c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American soprano <strong>Jessye Norman<\/strong> (1945\u20132019) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2252060\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Martin Bernheimer, Alan Blythe, and Karen M. Bryan.<\/p>\n<\/div>\n<\/div>\n<p><strong>G major pentatonic. <\/strong>After writing the G major pentatonic scale, study and listen to its use in Worksheet example 8\u201124. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-36\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-36\" class=\"h5p-iframe\" data-content-id=\"36\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 8.24 G major pentatonic\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 8\u201124. \u201cGo Tell It on the Mountain,\u201d performed by Bob Marley &amp; The Wailers, 0:20\u20130:39<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-468-27\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.24-Go-Tell-It.mp3?_=27\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.24-Go-Tell-It.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-8.24-Go-Tell-It.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/136o6j9wt7QmXNm0EY8Xgn?si=9f8e991c04d6412a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Jamaican musician <strong>Bob Marley<\/strong> (1945\u20131981) by reading this <a class=\"rId50\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.49859\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Stephen Davis.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.6-Pentatonic-scales-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.6 Pentatonic scales in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to these tracks and many more on the <a href=\"https:\/\/open.spotify.com\/playlist\/1QQnNGao837cKM7isUABWN?si=9733fd734388425e\" target=\"_blank\" rel=\"noopener\">Spotify playlist for modes and other scales<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 8-7 Modes and scales<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 8-7 Modes and scales<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Construct the scales on the staves below or on a separate sheet of staff paper. Bracket the location of all half steps.<\/p>\n<p class=\"import-Normal\"><img decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image16.png\" alt=\"image\" class=\"aligncenter\" width=\"624px\" height=\"638.8px\" \/><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex8.7-Modes-and-scales.pdf\" target=\"_blank\" rel=\"noopener\">Ex8.7 Modes and scales<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 8<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId55\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/09\/Modes-and-Other-scales.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy&#8217;s primer on modes and other scales<\/span><\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-diatonic-modes-and-the-chromatic-scale\/\" target=\"_blank\" rel=\"noopener\">Chelsea Hamm&#8217;s chapter on diatonic modes and the chromatic \u201cscale\u201d<\/a> (Open Music Theory)<\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/diatonic-modes\/\" target=\"_blank\" rel=\"noopener\">Mark Gotham and Megan Lavengood&#8217;s chapter on diatonic modes<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_468_2854\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_2854\"><div tabindex=\"-1\"><p>any seven-note scale in which each letter name is used once<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1563\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1563\"><div tabindex=\"-1\"><p>modal scale identical to the major scale, with the following interval content: whole - whole - half - whole - whole - whole - half<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1564\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1564\"><div tabindex=\"-1\"><p>modal scale identical to the natural minor scale, with the following interval content: whole - half - whole - whole - half - whole - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1366\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1366\"><div tabindex=\"-1\"><p>five-note scale; two primary types in tonal music\u2014the major pentatonic, a subset of major (1 2 3 5 6), and minor pentatonic, a subset of natural minor (1 3 4 5 7)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1365\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1365\"><div tabindex=\"-1\"><p>scale consisting of whole steps exclusively<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1189\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1189\"><div tabindex=\"-1\"><p>scales that originated from a system developed in the Middle Ages by monks to classify different chants by their melodic properties; mode names include ionian (major), dorian, phrygian, lydian, mixolydian, aoelian (natural minor), and locrian (rarely used)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1196\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1196\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: whole - half - whole - whole - whole - half - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1195\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1195\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: half - whole - whole - whole - half - whole - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1191\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1191\"><div tabindex=\"-1\"><p>modal scale that features the following interval pattern: whole - whole - whole - half - whole - whole - half<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1192\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1192\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: whole - whole - half - whole - whole - half - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1562\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1562\"><div tabindex=\"-1\"><p>infrequently used modal scale with the following interval content: half - whole - whole - half - whole - whole - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1388\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1388\"><div tabindex=\"-1\"><p>five-note scale that uses scale degrees 1, 2, 3, 5, and 6 from the major scale<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_1392\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_1392\"><div tabindex=\"-1\"><p>five-note scale featuring scale degrees 1, 3, 4, 5, and 7 from the natural minor scale<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_468_2860\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_468_2860\"><div tabindex=\"-1\"><p>the relationship between scales that have different tonics but the same collection of notes or key signature<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":8,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-468","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/468","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":207,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/468\/revisions"}],"predecessor-version":[{"id":7004,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/468\/revisions\/7004"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/468\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=468"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=468"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=468"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=468"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}