Text: 7/3/01 The Dorian Mode in music is quite misunderstood. Because it is perfectly symmetrical it is a link between this dimension and another. It proves this musically by holding the whole damn system up. How many Keys are there? 12. All twelve have a special link with the Dorian Mode. Nature is so subtle that it holds in place a seed for future dispersion in one private little area of the so called Major scale. Hughes, in her book 'Harmonies of Tones and Color' talks about the two poles Gb and F#. One is holder of the six flats and the other holder of the six sharps ( at full expansion). At each increase of a flat and a sharp in parallel, the Dorian arrangement of symmetrically reflected notes agrees to this exchange. It happens nowhere else but the Dorian Mode. The Dorian Mode which belongs to the scale of C Major possess no sharps or flats, in other words, it's all the white notes of the piano beginning at D and ending on D an octave up or down from that point. D E F G A B C D The intervals that make up this Mode can be 'mirrored'. The note D is set as an Axis point and the notes are written as mirror partners around this axis. D E F G A B C D E F G A B C D The red D is the axis point. Mirror partners are D/D E/C F/B G/A A/G B/F C/E which are visible mirror pairs, and D#/Db Gb/A# G#/Ab A#/Gb C#/Eb which are the 'in between' mirror pairs. Now we focus on each increase of sharp or flat in Key signiture which is connected to one of the two poles. G Major has one sharp and F Major has one flat: G A B C D E F# G F G A Bb C D E F The alterations are at the F and the B. These two notes are mirror partners around the Dorian Mode. You can add the sharp and the flat and see that they mirror perfectly around the D axis point. The Key of D has two sharps and the Key of Bb has two flats: D E F# G A B C# D Bb C D Eb F G A Bb The altered notes are F and C for the sharps and B and E for the flats. We know that F and B are mirror partners . So are C and E. This is the pattern as we add more sharps and more flats. The altered notes are always mirror partners in the perfectly symmetrical Dorian Mode. The Major scale of A has three sharps and the scale of Eb has three flats. A B C# D E F# G# A Eb F G Ab Bb C D Eb The new altered notes are Ab and G#. This is halfway point. This is also the center of the Dorian Mode which is like an axis point too. G#/Ab equals the same in the mirror. They are pairs at this point. E Major has four sharps and Ab major has four flats: E F# G# A B C# D# E Ab Bb C Db Eb F G Ab The new altered notes are Db and D#. This is again the result within the Dorian mode too. Two more sharps and flats and we will arrive at the poles of F# and Gb. B Major has five sharps and Db major five flats: B C# D# E F# G# A# B Db Eb F Gb Ab Bb C Db The new altered notes are the Gb and the A#. These two notes are mirror pairs around the D Dorian Mode. Lastly F# Major has six sharps and Gb Major has six flats: F# G# A# B C# D# E# F Gb Ab Bb Cb Db Eb F Gb The new altered notes are E# and Cb. This last result too is similar to that within the D Dorian Mode. These are the way the sharps and flats progress. The note C is the beginning of the journey but has no sharps or flats. There follows a progression of sharps and flats which are related to the mirror pairs within a perfectly symmetrical mode. Perfectly symmetrical in order to accomadate both poles perhaps. To verify the growth of sharps and flats there is then a second witness, the Major scale of C itself. This is the home key which gives rise to the D Dorian Mode. First here are the Keys as they develop sharps and flats: C - G D A E B F# C- F Bb Eb Ab Db Gb So, G has one sharp, D has two sharps and so on. F has one flat , Bb has two flats and so on. Now look at the C Major scale and it's mirror note pairs: C Db Eb F G Ab Bb C D E F G A B C Mirror partners - C/C D/Bb E/Ab F/G A/Eb B/Db. The center of both scales being F#/Gb means that this is another Axis point. It is interesting that the two poles live at the center of this natural of Major scales. Can you see how this too is a representation of the sharps and flats as they develop from each opposite pole. Look, D/Bb are mirror pairs in C Major but they are also the keys that have two sharps and two flats each. There is perfect correspondance here too. One side of the mirror represents more flats than sharps and the other side is opposite in charactor. So, I personally would be inclined to take the Dorian Mode and the Mirror pairs as a whole seriously enough to figure out what the -uck it all means. I believe the lifting of a heavy stone could be achieved by sound and instead of hurling three minutes of Shania Twain singing at these stones I would prefer to set up a Dorian Orchestra perhaps! Remember , if one side cannot be seperated from the other, then is there any other system at work besides the one I have presented here? Is this only part of something subtler? I think it is Peace Luigi Martino

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