[Discussion] Jazz Theory

Robin, I have a question: When a piece/song is composed in a certain mode like locrian or whatnot, does the normal key signature have to be there? Example, if it was in B major, would you have to to have 5 sharps and still naturalize them every time, or would it be the key signature of C?

Thanks.

Originally Posted by Rafn

Robin, I have a question: When a piece/song is composed in a certain mode like locrian or whatnot, does the normal key signature have to be there? Example, if it was in B major, would you have to to have 5 sharps and still naturalize them every time, or would it be the key signature of C?

Thanks.

I should hope not - I'd expect the composer wouldn't want to inflict that amount of pain and hardship on the musicians. Put it in the simplest key, in this case C.

Personally, as I often use modal harmony derived from numerous key centres, I never use a key signature.

Okay, I was just wondering from your example. Thanks for clearing that up for me.

Originally Posted by Rafn

Robin, I have a question: When a piece/song is composed in a certain mode like locrian or whatnot, does the normal key signature have to be there? Example, if it was in B major, would you have to to have 5 sharps and still naturalize them every time, or would it be the key signature of C?

Thanks.

Sometimes composers will write out the number of sharps/flats in the mode, i.e. a piece in E Lydian would have a key signature of five sharps (B Major). Sometimes, though, they'll just use the key signature of the parallel major/minor scale, depending on the mode. So a piece in E Lydian, E Ionian, or E Mixolydian would have a key signature with four sharps (E Major) and E Dorian, E Aeolian, and E Phrygian would have a key signature with one sharp (E Minor) and accidentals would just be used regularly for a b7, #4, b2, or natural 6. I've never seen a piece in Locrian with a minor key signature because it technically isn't a minor key due to the b5, but it may very well be out there.

Originally Posted by Rafn

Okay, I was just wondering from your example. Thanks for clearing that up for me.

Yeah, the example has the key signatures simply to show how the scales are altered to produce the various modes.

I don't get it..
Is there anyway you could explain the differences between the different modes, what makes them special? What's their individual sounds?

When's the jazz excercises coming up?

Play the modes, that way you get a feel for how they sound.

Improvise in a scale of C major over Cmaj7, then Dm7, then Em7, then Fmaj7, then G7, then Am7, then Bm7b5. That way, you get a feel for what the particular sound of each mode is.

Originally Posted by Mark

Play the modes, that way you get a feel for how they sound.

Improvise in a scale of C major over Cmaj7, then Dm7, then Em7, then Fmaj7, then G7, then Am7, then Bm7b5. That way, you get a feel for what the particular sound of each mode is.

Not quite. I could use D Phrygian over a static Dm7.

so what is the chord progression in the blues scale?

Originally Posted by spherenine

Not quite. I could use D Phrygian over a static Dm7.

And?