I’m pleased to announce the second installment of Theory For Producers, jointly produced by Soundfly and the MusEDLab. The first part discussed the scales you can play on the black keys of the piano. This one talks about three of the scales you get from the white keys. The next segment will deal with four additional white-key scales. Go try it!
If you’re a music educator or theory nerd, and would like to read more about the motivation behind the course design, read on.
Some of my colleagues in the music teaching world are puzzled by the order in which we’re presenting concepts. Theory resources almost always start with the C major scale, but we start with E-flat minor pentatonic. While it’s harder to represent in notation, E-flat minor pentatonic is easier to play and learn by ear, and for our target audience, that’s the most important consideration.
Okay, fine, the pentatonics are simple, it makes sense to start with them. But surely we would begin the white key part on the major scale, right? Nope! We start with Mixolydian mode. In electronica, hip-hop, rock, and pop, Mixolydian is more “basic” than major is. The sound of the flat seventh is more native to this music than the leading tone, and V-I cadences are rare or absent. I once had a student complain that the major scale makes everything sound like “Happy Birthday.” Our Mixolydian example, a Michael Jackson tune, was chosen to make our audience of producers feel culturally at home, to make them feel like we value the dance music of the African diaspora over the folk and classical of Western Europe.
After Mixolydian, we discuss Lydian mode. While it’s a pretty exotic scale, we chose to address it before major because it’s more forgiving to improvise with–Lydian doesn’t have any “wrong” notes. In major, you have to be careful about the fourth, because it has strong functional connotations, and because it conflicts hard with the third. In Lydian, you can play notes in any order and any combination without fear of hitting a clunker. Also, exotic though it may be, Lydian does pop up in a few well-known songs, like in a recent Katy Perry hit.
Finally, we do get to major, using David Bowie, and Queen. Even here, though, we downplay functional harmony, treating major as just another mode. Our song example uses a I-IV-V chord progression, but it runs over a static riff bassline, which makes it float rather than resolve.
This class only deals with the three major diatonic modes. We’ll get to the minor ones (natural minor, Dorian, Phrygian and Locrian) in the third class. We debated doing minor first, but there are more of the minor modes, and they’re more complicated.
We also debated whether or not to talk about chords. The chord changes in our examples are minimal, but they’re present. We ultimately decided to stick to horizontal scales only for the time being, and to treat chords separately. We plan to go back through all of the modes and talk about the chord progressions characteristic of each one. For example, with Mixolydian, we’ll talk about I-bVII-IV; with Lydian we’ll do I-II; and with major we’ll do all the permutations of I, IV, V and vi.
Once again, we know it’s unconventional to deal with modes so thoroughly before even touching any chords, but for our audience, we think this approach will make more sense. Electronic music is not big on complex harmony, but it is big on modes.
