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List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
A mode indicated a primary pitch (a final), the organization of pitches in relation to the final, the suggested range, the melodic formulas associated with different modes, the location and importance of cadences, and the affect (i.e., emotional effect/character). Liane Curtis writes that "Modes should not be equated with scales: principles of ...
In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth, while 2:1 or 1:2 represent a rising or lowering octave). The formulas can also be expressed in terms of powers of the third and the second harmonics.
In Western music, scale notes are often separated by equally tempered tones or semitones, creating 12 intervals per octave. Each interval separates two tones; the higher tone has an oscillation frequency of a fixed ratio (by a factor equal to the twelfth root of two, or approximately 1.059463) higher than the frequency of the lower one. A scale ...
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Starting the scale on a different degree will always create a new mode with individual interval layouts—for example starting on the second degree of a major scale gives the "Dorian mode"—tone, semitone, tone, tone, tone, semitone, tone. This is not so of the modes of limited transposition, which can be modally shifted only a limited number ...
The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth).
The Ionian mode is a musical mode or, in modern usage, a diatonic scale also called the major scale.It is named after the Ionian Greeks.. It is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting tone/reciting note or tenor ...