Why music sounds different in many cultures is a question answered by the study of Scales. Proper execution of period or ethnic music is better facilitated when a musician or composer understands the scale structure employed.
Western music is based on the Diatonic Scale which was invented and used by the Greeks in about 500 BC. The diatonic scale is comprised of 12 tones to the octave, that is for example, C to C' is twelve notes. This is not standard throughout all cultures, i.e. one of the Arabian scales has 17 tones to the octave. There are physical and mathematical reasons for this addressed by the sciences of Acoustics and Harmonics.
The structure of the scale drives the emotions of the piece. This is why a Major Scale piece is generally 'happy' while a Minor Scale piece is 'sad'. Other scales, like the Pentatonic which has only 5 tones between octaves will make the music sound oriental and a Whole Tone scale which has 6 tones can make a piece sound like it comes from outer space!
Western tunings (temperament) became standardized by about 1700 and will be the focus of this study. Some modern composers have experimented with altered notes, like quarter tones, which fall between the notes that we are used to. After study of this section, the student will have a good basic understanding of musical structure.
The key of a piece can be determined by applying the following rules.
Commit the above three rules to memory.
To determine other major keys, use the following method of identification.
Once the major key is determined, count down three notes (a minor third) to get the relative minor. Make sure to count down with the sharps of flats in the signature. For example, the key of C major has no sharps or flats - thus counting down C > B > A places it in A minor. It is that easy.
Let's try another. In the key of A major there are 3 sharps on F, C and G. Count down A > G sharp > F sharp - thus it is in F sharp minor.
Scales follow prescribed rules of structure based upon intervals. An interval of 1/2 step is the standard from a note to its sharp (up) or flat (down). A scale can start on any note and must follow the rules to satisfy the melodic structure of the piece. The Key Signature alters the notes to keep the scale within the proper structure. Any key can be transposed into another key by lowering or raising each tone by the same amount. Transposition is used to place the piece within the singer or instrumentalists range. You have already been exposed to transposition in the lessons. I have transposed each piece to make them playable on both the C and F instruments.
Play each of the following scales to hear what they sound like. For a full explaination of each structure the serious student should get a qualified teacher. This is college level stuff. These scales are presented to make you aware that such things exist. I have elected to transpose each scale into the key of G to allow both C and F recorders to play them comfortably.
The Chromatic Scale is all the half steps in the structure.
The Major Scale is all of the natural notes as determined by the key signature.
Minor scales come in three flavors! (Confusing, isn't it!)
Church Modes (or simply modes) were the basis of European music, originating from Gregorian Chant between 800 and about 1600 A.D. During this time, accidentals (sharps and flats) were generally unknown or unused. Modes are octave segments of the Diatonic (C major) scale, beginning and ending on a specific note.
The range of the octave is called the Ambitus and the center tone (comparable to the C in the C major scale) is called the Finalis.
There are six Finales and each belongs to two modes. They are D, E, F, G, A and C'. In about 1552 the B finalis was added to complete the scale. When the Ambitus and Finalis end on the same note, the mode is called "authentic" (the first of the two modes for a finalis). The authentic mode for D is D - D' (the diatonic octave scale from D to D). The second type of mode in called Plegal, where the ambitus starts 4 notes below the finalis and ends 5 notes above it. Thus the Plegal mode of D starts on A, goes up to A' and ends on D. (Think you're confused now? Like the guy on the commercial says, "But wait, there's more!)
Each mode has its own name. When the mode is the Plegal type, the prefix 'Hypo' is added to it. Here's a list of them. Note: The seventh tone B is a false mode which does not conform to the rules of the others but is historically correct for completness.
| Name | Latin Name | Type | Ambitus | Finalis |
| Dorian | Primus tonus | authentic | d-d' | d |
| Hypodorian | Secundus tonus | plegal | A - a | d |
| Phrygian | Tertius tonus | authentic | e - e' | e |
| Hypophrygian | Quartus tonus | plegal | B - b | e |
| Lydian | Quintus tonus | authentic | f - f' | f |
| Hypolydian | Sextus tonus | plegal | c - c' | f |
| Mixolydian | Septimus tonus | authentic | g - g' | g |
| Hypomixolydian | Octavus tonus | plegal | d - d' | g |
| Aeolian | Nonus tonus | authentic | a - a' | a |
| Hypoaeolian | Decimus tonus | plegal | e - e' | a |
| Ionian | Undecimus tonus | authentic | c' - c'' | c' |
| Hypoionian | Duodecimus tonus | plagel | g - g' | c' |
| Locrian | ------------- | (false) | b - b' | b |
| Hypolocrian | ------------- | (false) | f - f' | b |
Now go back to the Snappy Tunes. What modes are some of the pieces? Can you identify them?
"Wayfaring Stranger" is in the Dorian mode.
"Irish Washerwoman" is in the Ionian mode (transposed).
"Hatikva" is in the Aeolian mode (transposed).
OK gang, you're on your own from here. You now have the facility to play much of the standard recorder repertoire. Enjoy and all the best.
Yeah, verily and forsooth, I telleth thee. I knoweth it all. Taketh me Home