Text: From: "luigi.di-martino" MIME-Version: 1.0 Mailing-List: list svpvril@yahoogroups.com; contact svpvril-owner@yahoogroups.com Delivered-To: mailing list svpvril@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Fri, 6 Jul 2001 19:22:58 +0100 Subject: Re: [svpvril] Balloons and Dorian Modes as lifting abodes 7/8/01 Hi to All This is for anyone interested. What should have been apparent about the secret function of the Dorian Mode is that this secret is not manifest until the scale is Mirrored.=20 D E F G A B C D Presenting the Dorian Mode like this without it's 'mirror' partner simply doesn't convey the structure. As stated in the other posting it is the symmetry which the Mode possesses that gives the insight into how Keys are developed. D E F G A B C D E F G A B C D It is when the Mode (scale) is mirrored that the system is seen at work. If anyone can show me a book which mirrors the Dorian like this and equates it with the natural growth of Keys I would be very interested to see it. It was seen that not only the Dorian verified this particular structure but the 'home' scale itself. It would be worth then mirroring every Mode of the Major scale, alll seven of them, and to see if there is a structure at work. These are the seven Modes of the C Major scale together with the Mode's name. I know these names have been changed over the centuries but it shouldn't really effect the result one will uncover by systematically mirroring the intervallic structure of the scales. Remember these Modes use only the white notes of the piano: C D E F G A B C (IONIAN) D E F G A B C D (DORIAN) E F G A B C D E (PHRYGIAN) F G A B C D E F (LYDIAN) G A B C D E F G (MIXOLYDIAN) A B C D E F G A (AEOLIAN) B C D E F G A B (LOCRIAN) Here they are Mirrored: C Db Eb F G Ab Bb C D E F G A B C D The C Ionian has mirrored into a scale with four flats. From the earlier posting you will know that the scale which has four flats is that of Ab Major - Ab Bb C Db Eb F G Ab. The above mirror scale however is not commenced from the Ab note. It commences from the C note which is the 3rd note . We can see from above that the 3rd Mode generates what is known as the Phrygian Mode. Therefore the 3rd Mode of the Ab Major scale is known as C PHRYGIAN. So how did the mirror of the C Major scale known as IONIAN come to be that of C PHRYGIAN? It is done by creating an Axis point and then traveling equal distances in either direction. In the end you will see that things move in all four directions at once, left and right, up and down. Starting with the red middle C you will find that there is a movement of a TONE to the right which establishes the note D. This movement of a TONE is reversed and so there is also a movement of one TONE to the left. In Duality what has been created in one move from an axis point is this: one tone left one tone right Bb C D So both scales are created using the same formula but applying it both ascending and descending from a chosen axis point. This is what eventually leads, in the above case, to the Phrygian Mode being a mirror partner of the Ionian Mode. The Dorian Mode has already been mirrored above. As you can see there is no difference in Mode either side of the mirror but there is a difference in note partners either side of the middle D. Here is the Mirror of the Phrygian Mode in the scale of C Major: E F# G# A B C# D# E F G A B C D E (PHR) The result is a scale with four sharps. That scale is known as E Major (IONIAN) and therefore the Phrygian Mode mirrors to the IONIAN. This has opened up another phenomena - DOUBLE REFLECTION. The IONIAN mirrors to PHRYGIAN and the PHRYGIAN mirrors to IONIAN. The next Mode mirrored: F Gb Ab Bb Cb Db Eb F G A B C D E F G (LYD) The mirror scale has six flats. The home Key which possesses six flats is Gb Major. This Major scale shouldn't exist according to theorists. Well here it is in all it's enharmonic brilliance. Starting this scale on the F means it is the seventh Mode of Gb Major. That Mode is known as the LOCRIAN. This establishes the partnership of LYDIAN/LOCRIAN. G A Bb C D Eb F G A B C D E F G (MIX) This next mirror scale has two flats. It is the Major scale of Bb then and it is starting on it's 6th Mode, the AEOLIAN. The partnership here therefore is MIXOLYDIAN/AEOLIAN. Double Reflection can come in very useful in determining the relationships between Modes. If we have a MIXOLYDIAN/AEOLIAN partnership then we must also have it the other way around AEO/MIX. So we are just about to mirror the A Aeolian Mode. The result must surely be the A Mixolydian Mode. A B C# D E F# G A B C D E F G A (AEO) The mirror scale has two sharps. It is the D Major scale which has two sharps. This one begins at the 5th Mode, so it is indeed that of A Mixolydian. Here is the last Mode which mirrors. It is known as the B Locrian Mode so I would bet my mother's knitting needles that the result is B LYDIAN when it is mirrored: B C# D# E# F# G# A# B C D E F G A B This mirror scale has six sharps. The scale of F# Major has six sharps. This mirror scale commences from the 4th Mode which is the LYDIAN. Here are all seven mirror pairs being the Modes of a Major scale and their mirror partners. I call this a Mode Box. (PHR) C Db Eb F G Ab Bb C D E F G A B C (ION) (DOR) D E F G A B C D E F G A B C D (DOR) (ION) E F# G# A B C# D# E F G A B C D E (PHR) (LOC) F Gb Ab Bb Cb Db Eb F G A B C D E F (LYD) (AEO) G A Bb C D Eb F G A B C D E F G (MIX) (MIX) A B C# D E F# G A B C D E F G A (AEO) (LYD) B C# D# E# F# G# A# B C D E F G A B (LOC) There is only one major scale on the right hand side of the Mode box, but six Major scales in all on the left. There is a reason why this is so but I am afraid it would prove to be a little complicated to explain this without being labelled a 'mirror head' so I will stop here and pass this info on with a glad heart!

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