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The Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.
"So What" is the first track on the 1959 album Kind of Blue by American trumpeter Miles Davis. It is one of the best-known examples of modal jazz, set in the Dorian mode and consisting of 16 bars of D Dorian, followed by eight bars of E ♭ Dorian and another eight of D Dorian. [1]
The song follows the E Dorian mode: the Em of "since she's been gone" shifting to a v (Bm chord) on "gone" then an IV (A chord) on "no-one” in the verse. The chords of the chorus (Em-A-Em) also create the Dorian progression i-IV-i. [10] The song achieves a thick sound through its double-tracked vocal, reverbed guitars, and busy drumming.
The song is a prominent example of mode mixture, specifically between the Aeolian mode, also known as natural minor, and the Dorian mode. Set in E minor, the song is based on the chord progression Em–C, typical of the Aeolian mode and utilising notes ♭ 3, ♭ 6, and ♭ 7 in this scale.
The song is in G natural minor scale, but with hints of the G Dorian mode with the inclusion of the E (raised sixth) note in various parts throughout, most prominently in the four-note theme in Part II.
The song was also included on the 1956 album The English and Scottish Popular Ballads vol IV by A. L. Lloyd and Ewan MacColl, using Kidson's melody. [13] The first recorded version using the best-known melody was performed by Audrey Coppard on the 1956 album English Folk Songs. [14]
"Summer in the City" is a song by the American folk-rock band the Lovin' Spoonful. Written by John Sebastian, Mark Sebastian and Steve Boone, the song was released as a non-album single in July 1966 and was included on the album Hums of the Lovin' Spoonful later that year. The single was the Lovin' Spoonful's fifth to break the top ten in the ...
The melody is composed in Dorian mode and uses the VII-I progressions and common tone third progressions that were usual in the rock genre of that period. [1] The song also uses a modal mixture for a Picardy third ending. [1] The song has been popular in Cuba and was covered by several artists, [2] such as Raquel Hernández and Blaak Heat.