Once in one of the articles on musical harmony, it has already been said that the frets in music - well, just the sea. There are really many of them, and the most common ways of classical European music are major and minor, which also have more than one variety.
Something from the history of the old frets
But before the appearance of the major and minor itself and their final consolidation with the assertion of a homophonic-harmonic warehouse in secular music, there were completely different ways in professional European music - they are now called ancient church frets (sometimes they are also called natural frets). The fact is that they were actively used at the time of the Middle Ages, when professional music was primarily ecclesiastical.
Although in reality the very same so-called church frets, although in a slightly different form, were not only known, but also very interestingly characterized by some philosophers in ancient musical theory. And the names of these frets borrowed from the ancient Greek musical frets.
These old ways have some particular ways of organization and education, which, however, you students do not need to know about. You should know only that they were used both in monophonic and in polyphonic choral music. Your task is to learn how to build frets and distinguish between them.
What kind of vintage frets are these?
Pay attention: There are only seven ancient frets, each of them has seven stepsThese frets are not in the modern sense either a full-fledged major or a full-fledged minor, but the method of comparing these frets with natural major and natural minor, more precisely with their scale, has been established and successfully works in educational practice. Based on this practice, purely for training purposes, two groups of frets are distinguished:
- frets major;
- frets minor mood.
Lada major mood
Here are those frets that can be compared with natural major. You will need to memorize three of them: Ionian, Lydian, and Mixolidian.
Ionian way - this is a fret whose sound order coincides with that of natural major. Here are examples of the Ionian fret from different notes:
Lydian mood - This is such a harmony, which, compared with natural major, has in its composition the fourth highest level. Examples:
Mixolydian mode - this is a mode that, compared to the scale of natural major, is composed of the seventh low level. Examples are:
Let's summarize what was said with a small schema:
Lada minor mood
These are the frets that can be compared with the natural minor. Four of them can be remembered: Aeolian, Dorian, Phrygian + Locri.
Aeolian way - nothing special - its scale coincides with the scale of the natural minor (major analog - you remember, yes? - Ionian). Examples of various such Aeolian ladics:
Dorian - this mode has a sixth high degree compared to the natural minor scale. Here are some examples:
Phrygian - this mode has a low second stage compared to the natural minor scale. See:
Locri - this mode in comparison with natural minor has a difference in two steps at once: the second and the fifth, which are low in it. Here are some examples:
And now you can again summarize the above with one scheme. Let's bring it all here:
Important design rule!
For these frets there is a special rule relating to the design. When we record in the notes of any of the mentioned frets - whether Ionian, Aeolian, Mixolydian or Phrygian, Dorian or Lydian, and even Locrius, and also when we record music in these frets - then at the beginning of the musical staff or not at all signs, or signs are displayed immediately taking into account unusual steps (high and low).
That is, for example, if we need a mixolydian from re, then comparing it with D major, we do not write a reduced step to a bakar in the text, we do not set it to a c sharp or to a bakar at the key, and we completely dispense with sharps, leaving the key only one fa sharp. It turns out a sort of D major without C sharp, in other words, Mixolydian D major.
Interesting feature # 1
See what happens if you build a seven-step scale from the white keys of the piano:
Curious? Take note!
Interesting feature number 2
Among major and minor tonalities, we single out parallel ones — such are those in which there are different modal moods, but the same composition of sounds. In the old frets, there is also something similar. Catch:
Grabbed? Another note!
Well, perhaps that's all. Especially there is nothing to rant. It should be clear. To build any of these modes, we simply build the source major or minor in the mind, and then easily and simply change the necessary steps there. Enjoy your ear training!
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