The chapter discusses how seven different modes can be derived from each major scale by starting on a different note of the scale. These modes can then be applied to different chord types based on chord-scale theory. The standard 12-bar blues progression is used as an example to demonstrate how different major modes like mixolydian and dorian can be applied to each chord. Practicing these modal applications helps provide a foundation for melodic improvisation over chord changes.
The document discusses major modes and their application to the blues. There are 7 modes that can be derived from each major scale by starting on a different note: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. These modes correspond to different chord types and provide a foundation for melodic improvisation. The 12-bar blues progression is used as an example to demonstrate how different modes like mixolydian and dorian can be applied to different chords within the progression based on their tonality. Practice tips are also provided for learning the modes and blues exercises.
The document provides an overview of major modes and their application to blues progressions. There are seven modes that can be derived from each major scale, with each mode corresponding to a different chord type. Using a 12-bar blues progression as an example, the chapter demonstrates how different major modes can be applied to each chord, providing a foundation for melodic improvisation. The modes, when applied diatonically, will produce notes that are compatible with each chord's tonality. Exercises are also provided to help students learn and practice the different modes.
The document discusses major modes and their application to the blues. There are 7 modes that can be derived from each major scale, each with their own tonality. These modes can be associated with different chord types and used as the foundation for melodic improvisation. Using a 12-bar blues progression is a good way to learn these associations, with different modes applied to different chords, such as mixolydian, dorian, and locrian modes matching chords diatonically. Practice tips include learning the scales and exercises slowly and in different patterns.
Cpm 14 06 2009 Paper 1 12th (Abcd) Code Bsracy.com
The document contains an answer key for a review test with questions from Chemistry, Physics, and Math. It provides the question numbers, parts, and answers in a structured format. The answer key is for 12th standard students for the date June 14, 2009 for paper 1.
This document summarizes techniques for core allocation and relocation management in self-dynamically reconfigurable architectures. It introduces basic concepts like cores, IP cores, and reconfigurable regions. It then describes proposed 1D and 2D relocation solutions like BiRF and BiRF Square that allow runtime relocation with low overhead. A core allocation manager is introduced to choose core placements optimizing criteria like rejection rate and completion time with low management costs. Evaluation shows the techniques improve metrics like rejection rate and routing costs compared to other approaches.
This document provides 13 multi-part geometry problems involving concepts like congruence, similarity, angles, parallelograms, rectangles, and trapezoids. Each problem includes one or more figures with labeled points and geometric shapes, given information, and questions to prove properties or calculate missing angle or length values. Solutions are to be shown deductively by stating givens and using prior results to arrive at the conclusion.
This document contains the answer key for a GATE 2012 paper in Computer Science (CS). It lists 65 questions from the CS paper and provides the correct answer code (A, B, C, or D) for each question according to 4 answer sheets. For some questions, "Marks to All" is listed, indicating all answer options were correct.
The document discusses major modes and their application to the blues. There are 7 modes that can be derived from each major scale by starting on a different note: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. These modes correspond to different chord types and provide a foundation for melodic improvisation. The 12-bar blues progression is used as an example to demonstrate how different modes like mixolydian and dorian can be applied to different chords within the progression based on their tonality. Practice tips are also provided for learning the modes and blues exercises.
The document provides an overview of major modes and their application to blues progressions. There are seven modes that can be derived from each major scale, with each mode corresponding to a different chord type. Using a 12-bar blues progression as an example, the chapter demonstrates how different major modes can be applied to each chord, providing a foundation for melodic improvisation. The modes, when applied diatonically, will produce notes that are compatible with each chord's tonality. Exercises are also provided to help students learn and practice the different modes.
The document discusses major modes and their application to the blues. There are 7 modes that can be derived from each major scale, each with their own tonality. These modes can be associated with different chord types and used as the foundation for melodic improvisation. Using a 12-bar blues progression is a good way to learn these associations, with different modes applied to different chords, such as mixolydian, dorian, and locrian modes matching chords diatonically. Practice tips include learning the scales and exercises slowly and in different patterns.
Cpm 14 06 2009 Paper 1 12th (Abcd) Code Bsracy.com
The document contains an answer key for a review test with questions from Chemistry, Physics, and Math. It provides the question numbers, parts, and answers in a structured format. The answer key is for 12th standard students for the date June 14, 2009 for paper 1.
This document summarizes techniques for core allocation and relocation management in self-dynamically reconfigurable architectures. It introduces basic concepts like cores, IP cores, and reconfigurable regions. It then describes proposed 1D and 2D relocation solutions like BiRF and BiRF Square that allow runtime relocation with low overhead. A core allocation manager is introduced to choose core placements optimizing criteria like rejection rate and completion time with low management costs. Evaluation shows the techniques improve metrics like rejection rate and routing costs compared to other approaches.
This document provides 13 multi-part geometry problems involving concepts like congruence, similarity, angles, parallelograms, rectangles, and trapezoids. Each problem includes one or more figures with labeled points and geometric shapes, given information, and questions to prove properties or calculate missing angle or length values. Solutions are to be shown deductively by stating givens and using prior results to arrive at the conclusion.
This document contains the answer key for a GATE 2012 paper in Computer Science (CS). It lists 65 questions from the CS paper and provides the correct answer code (A, B, C, or D) for each question according to 4 answer sheets. For some questions, "Marks to All" is listed, indicating all answer options were correct.
This document provides a lesson plan on classifying triangles by their angles and side lengths. It begins with activating prior knowledge of angle types and having students draw and define acute, obtuse, right and straight angles. It then defines and provides examples of acute, obtuse, right, scalene, isosceles and equilateral triangles. Students are asked to classify sample triangles and solve problems identifying triangle types. The document concludes with a partner activity to create and classify triangles.
The document discusses major scales, including their pattern, intervals, and how to identify major scales starting on different notes on the keyboard. It provides examples of major scales starting on the notes F, G, A, E, B, F#, Bb, Eb, Ab, and Db by showing the notes in the scale and identifying the tone/semitone pattern. There are around 8 octaves on a standard piano keyboard.
Prim's algorithm is a greedy algorithm that finds a minimum spanning tree for a connected weighted undirected graph. It finds a subset of edges that forms a tree including every vertex where the total weight is minimized. A minimum spanning tree is a subgraph that is a tree covering all vertices using the minimum total cost of edges. Prim's algorithm works by growing this tree one edge at a time, each time adding the minimum cost edge that connects the tree to new vertices until all vertices are included.
This document shows the diatonic triads of the Bb major scale across three octaves on the piano. It displays the root note and quality of each triad in the scale, including Bb major, C minor, D minor, Eb major, F major, G minor, and A diminished, arranged from bottom to top on the staff in root position and inversions.
The document provides models for the amounts spent on natural gas (N) and electricity (E) in the United States from 1989 to 1993. It asks students to: 1) Find a model for the total amount (A) spent on natural gas and electricity during that period by adding the two models together. 2) According to the combined model, calculate how much will be spent on natural gas and electricity in 2020.
This document outlines the diatonic triads of the Eb major scale. It shows the root notes and chord qualities of each triad across three octaves on the staff. The triads are Eb major, F minor, G minor, Ab major, Bb major, C minor, and D diminished, forming the I, ii, iii, IV, V, vi, and vii° chords of the Eb major key.
1. The document describes various hockey plays and strategies involving passing, ball movement, and player positioning.
2. It includes diagrams showing offensive and defensive set ups and movements with multiple players labeled and arrows indicating passes.
3. The summaries range from basic plays like passing the ball around the perimeter to more advanced strategies like defensive rotations and delayed passing sequences.
This document contains the musical notation for the hymn "Locus Iste" by Anton Bruckner. It is written in C major and the melody is accompanied by changing chords. The piece modulates between keys but resolves back to C major in its closing bars.
This document shows the diatonic triads in the Db major scale. It displays the root notes and chord types for each triad across three octaves using staff notation and tablature. The triads progress through the I, IV, V, ii, iii, vi, and vii chords of the Db major key.
This document appears to be a math lesson plan on converting measurements from January 5th, 2012. It includes sections for a do now, homework assignment, and an assessment with 10 multiple choice questions. The homework assignment lists specific math problems from pages 416-417 for students to complete.
The document contains a table with 17 chapters listed across the top and 50 rows listed down the left side. Each cell in the table contains letter codes that seem to indicate categories or groupings. The table suggests some relationship between the chapters and rows but the specific meaning of the letter codes and their relationship is not explained.
This document provides instruction on classifying triangles by their angles and side lengths. It defines acute, obtuse, right, scalene, isosceles, and equilateral triangles. Students practice identifying triangles based on a diagram and their angles and sides. The lesson concludes with an activity where students create and exchange triangles with classmates to classify.
The document is a musical score for the jazz piano solo "Everything I Love" by Nikki Iles. It consists of 3 sentences summarizing the key and time signatures, and structure of the piece over 43 measures.
This document contains a 15 question geometry assessment for 7th grade math with 4 multiple choice answers for each question labeled A through D. It also provides the student with the aim of the assessment, the grade, subject, and date. The final pages include instructions to finish the packet for homework.
This document is a musical transcription of a solo jazz performance titled "London Concert" by Warne Marsh. It contains 3 pages of musical notation documenting the chord progressions and melodic lines played throughout the solo.
This document is a musical transcription of a solo jazz performance titled "London Concert" by saxophonist Warne Marsh. It contains 3 pages of musical notation showing the chord progressions and solo lines played over a quarter note equals 275 beats per minute tempo.
This document outlines the chapter summaries for a music theory book. It covers topics such as scale chord theory, tertian harmony, extended harmony, major modes, diatonic transposition, articulation, rhythmic studies, melodic minor scales, whole tone scales, diminished scales, and Bird blues. It also includes resources like scale/chord charts, definition lists, and playing exercises.
This chapter discusses how major modes are derived from major scales and applied to blues progressions. There are seven modes - Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian - that can be derived from each major scale by starting on a different note. These modes correspond to different chord types and provide a foundation for melodic improvisation. The 12-bar blues presents opportunities to apply mixolydian, dorian, and locrian modes diatonically according to the chords. Practicing these modal applications can help develop an understanding of chord-scale relationships.
This document provides an overview of new features in PowerPoint 2007, including improved text formatting options, more powerful graphics capabilities, new visual layouts using SmartArt and themes, and greater flexibility in customizing slide designs.
This document provides a lesson plan on classifying triangles by their angles and side lengths. It begins with activating prior knowledge of angle types and having students draw and define acute, obtuse, right and straight angles. It then defines and provides examples of acute, obtuse, right, scalene, isosceles and equilateral triangles. Students are asked to classify sample triangles and solve problems identifying triangle types. The document concludes with a partner activity to create and classify triangles.
The document discusses major scales, including their pattern, intervals, and how to identify major scales starting on different notes on the keyboard. It provides examples of major scales starting on the notes F, G, A, E, B, F#, Bb, Eb, Ab, and Db by showing the notes in the scale and identifying the tone/semitone pattern. There are around 8 octaves on a standard piano keyboard.
Prim's algorithm is a greedy algorithm that finds a minimum spanning tree for a connected weighted undirected graph. It finds a subset of edges that forms a tree including every vertex where the total weight is minimized. A minimum spanning tree is a subgraph that is a tree covering all vertices using the minimum total cost of edges. Prim's algorithm works by growing this tree one edge at a time, each time adding the minimum cost edge that connects the tree to new vertices until all vertices are included.
This document shows the diatonic triads of the Bb major scale across three octaves on the piano. It displays the root note and quality of each triad in the scale, including Bb major, C minor, D minor, Eb major, F major, G minor, and A diminished, arranged from bottom to top on the staff in root position and inversions.
The document provides models for the amounts spent on natural gas (N) and electricity (E) in the United States from 1989 to 1993. It asks students to: 1) Find a model for the total amount (A) spent on natural gas and electricity during that period by adding the two models together. 2) According to the combined model, calculate how much will be spent on natural gas and electricity in 2020.
This document outlines the diatonic triads of the Eb major scale. It shows the root notes and chord qualities of each triad across three octaves on the staff. The triads are Eb major, F minor, G minor, Ab major, Bb major, C minor, and D diminished, forming the I, ii, iii, IV, V, vi, and vii° chords of the Eb major key.
1. The document describes various hockey plays and strategies involving passing, ball movement, and player positioning.
2. It includes diagrams showing offensive and defensive set ups and movements with multiple players labeled and arrows indicating passes.
3. The summaries range from basic plays like passing the ball around the perimeter to more advanced strategies like defensive rotations and delayed passing sequences.
This document contains the musical notation for the hymn "Locus Iste" by Anton Bruckner. It is written in C major and the melody is accompanied by changing chords. The piece modulates between keys but resolves back to C major in its closing bars.
This document shows the diatonic triads in the Db major scale. It displays the root notes and chord types for each triad across three octaves using staff notation and tablature. The triads progress through the I, IV, V, ii, iii, vi, and vii chords of the Db major key.
This document appears to be a math lesson plan on converting measurements from January 5th, 2012. It includes sections for a do now, homework assignment, and an assessment with 10 multiple choice questions. The homework assignment lists specific math problems from pages 416-417 for students to complete.
The document contains a table with 17 chapters listed across the top and 50 rows listed down the left side. Each cell in the table contains letter codes that seem to indicate categories or groupings. The table suggests some relationship between the chapters and rows but the specific meaning of the letter codes and their relationship is not explained.
This document provides instruction on classifying triangles by their angles and side lengths. It defines acute, obtuse, right, scalene, isosceles, and equilateral triangles. Students practice identifying triangles based on a diagram and their angles and sides. The lesson concludes with an activity where students create and exchange triangles with classmates to classify.
The document is a musical score for the jazz piano solo "Everything I Love" by Nikki Iles. It consists of 3 sentences summarizing the key and time signatures, and structure of the piece over 43 measures.
This document contains a 15 question geometry assessment for 7th grade math with 4 multiple choice answers for each question labeled A through D. It also provides the student with the aim of the assessment, the grade, subject, and date. The final pages include instructions to finish the packet for homework.
This document is a musical transcription of a solo jazz performance titled "London Concert" by Warne Marsh. It contains 3 pages of musical notation documenting the chord progressions and melodic lines played throughout the solo.
This document is a musical transcription of a solo jazz performance titled "London Concert" by saxophonist Warne Marsh. It contains 3 pages of musical notation showing the chord progressions and solo lines played over a quarter note equals 275 beats per minute tempo.
This document outlines the chapter summaries for a music theory book. It covers topics such as scale chord theory, tertian harmony, extended harmony, major modes, diatonic transposition, articulation, rhythmic studies, melodic minor scales, whole tone scales, diminished scales, and Bird blues. It also includes resources like scale/chord charts, definition lists, and playing exercises.
This chapter discusses how major modes are derived from major scales and applied to blues progressions. There are seven modes - Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian - that can be derived from each major scale by starting on a different note. These modes correspond to different chord types and provide a foundation for melodic improvisation. The 12-bar blues presents opportunities to apply mixolydian, dorian, and locrian modes diatonically according to the chords. Practicing these modal applications can help develop an understanding of chord-scale relationships.
This document provides an overview of new features in PowerPoint 2007, including improved text formatting options, more powerful graphics capabilities, new visual layouts using SmartArt and themes, and greater flexibility in customizing slide designs.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
1. Chapter Two: Working with Major Modes
• Prerequisites:
o Pentatonic Scale, Blues Scale
o Review of Canvas Approach
o Review of 12 bar Blues Structure
• Scales and Modes:
• Tools for Practice:
o Metronome
o Chromatic Tuner
1 Chapter 2: Working with Major Modes | The Thunder In You (v9)
4. This method can be applied to every major scale. Twelve (12) major scales multiplied by seven (7)
modes = 84 modes; each with its own tone color and function.
Practice Tips
1. Learn each scale slowly (quarter note = 120). Start in one key, then after getting solid
there, move on to another key.
2. Play all scales around the circle of 4ths and chromatically in ½ steps.
3. Allow the sound of each scale to permeate your mind. Let each scale ‘get inside your
head’.
Major Modes Applied to Blues Progressions
Applying major modes within the blues can give the improviser a solid base from which to create
different melodies, shapes, and patterns while maintaining consonance with each chord. This is the
basis for ‘chord/scale theory’ – a practice in which each chord has a corresponding scale or mode.
A ‘standard’ twelve (12) bar blues presents a great opportunity for the improviser to use major modes.
Each bar of the blues has its own tone color. In this example, we apply a major mode to each measure
of the ‘standard’ 12 bar blues. The notes will be [diatonic] to each chord/scale relationship. Another
approach would be to [match] each chord with a major mode. Here’s an example:
• Bb7 = Bb mixolydian
• Eb7 = Eb mixolydian
• Bb7 = Bb mixolydian
• F‐7 – Bb7 = F dorian – Bb7 mixolydian
• Eb7 = Eb mixolydian
• E o (diminished) = E diminished (not a major mode)
• Bb7 = Bb mixolydian
• D07(half‐diminished) – G13 (#11, #9, b9) = D locrian, G phrygian (not a major mode)
• C‐7 = C dorian
• F7 = F mixolydian
• D‐7 – G7 = D dorian, G mixolydian
• C‐7 – F7 = C dorian, F mixolydian
4 Chapter 2: Working with Major Modes | The Thunder In You (v9)
5. Figure 2.2 – Modes For The Blues (Full Octave Scales)
5 Chapter 2: Working with Major Modes | The Thunder In You (v9)
6. Practice Tips
1. Learn each blues exercise slowly (quarter note = 120).
2. Play each blues exercise three different ways; ascending, descending, and alternating. Get
secure in ascending, then move on to the other two patterns.
3. Add tip # 3 here.
SUMMARY
In contemporary music chords and scale types are closely related; each chord type can be associated
with some kind of scale. In this chapter you’ve learned that seven (7) different modes, each with its
own [tonality] can be derived from a single major scale. These modes can be applied to different chord
types and used as foundation for the creation of melodies for improvisation.
Using the blues is a great way to get used to associating different chord types with different types of
scales. The ‘standard’ 12 bar blues contains ample opportunity for an improviser to apply mixolydian,
dorian, and locrian modes. These associations are diatonic to the [tonality].
6 Chapter 2: Working with Major Modes | The Thunder In You (v9)
7. WRITTEN EXERCISES
1.) What are the modes that can be derived from these major scales?
a. Bb major
b. E major
c. A major
d. Ab major
2.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
3.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
4.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
5.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
6.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
7 Chapter 2: Working with Major Modes | The Thunder In You (v9)
8. PLAYING EXERCISES
Instructions: Play this exercise with quarter note = 120. Practice this in Bb
only (at first), using traditional jazz emphasis (swung 8th notes, with typical
accenting). Once comfortable with this ascending pattern, also play the exercise
descending (reverse the pattern and play it backwards), then alternating (ascending
in one measure, then descending the next measure). Be sure to memorize this
exercise so that you can do it anywhere at anytime.
8 Chapter 2: Working with Major Modes | The Thunder In You (v9)
9.
Instructions: Play this exercise with quarter note = 120. Practice this in Bb only
(at first), using traditional jazz emphasis (swung 8th notes, with typical accenting).
Once comfortable with this ascending pattern, also play the exercise descending
(reverse the pattern and play it backwards), then alternating (ascending in one
measure, then descending the next measure). Be sure to memorize this exercise so
that you can do it anywhere at anytime.
9 Chapter 2: Working with Major Modes | The Thunder In You (v9)
10. 10 Chapter 2: Working with Major Modes | The Thunder In You (v9)
11. 11 Chapter 2: Working with Major Modes | The Thunder In You (v9)
13. 2.) Diatonic Relationships ‐ chords and scales are derived from the notes diatonic to that chord’s
root or scale’s root. For example – C Major:
Major C D E F G A B
1 2 3 4 5 6 7
Dorian D E F G A B C
2 3 4 5 6 7 1
Phryrigian E F G A B C D
3 4 5 6 7 1 2
Lydian F G A B C D E
4 5 6 7 1 2 3
Mixolydian G A B C D E F
5 6 7 1 2 3 4
Aolean A B C D E F G
6 7 1 2 3 4 5
Locrian B C D E F G A
7 1 2 3 4 5 6
In this text, we’ll use both approaches ‐ showing you the methods to use to create chords and scales
from diatonic and parallel relationships found in each chord and scale. Both methods are important for
your development as an improviser. Unison relationships provide a way to identify scales and chords
compared to each other (via the root),while diatonic relationships provide a means for the performer to
create different tonalities diatonic to the chord and scale.
13 Chapter 2: Working with Major Modes | The Thunder In You (v9)