He hasn't written a piece of music purely in Locrian mode

If you think about it all songs are written in Locrian

Locrian's fine to use, even extensively, but using it exclusively is usually retarded.

youtube.com/watch?v=IONfXsgRYZY
IIRC this is the only song that's in purely Locrian and not just used in a single bar
>hurr all songs use the Chromatic scale!

Link?

that song would've been better in c major

the first one reminds me of some prog rock

It would've lost its dissonance which completely misses the point entirely

>he doesn't know how to resolve by going down a half step to the root note
>he doesn't know how to resolve by going from the minor third to the root
>he needs consonant triads to resolve
>he needs to resolve at all
One single yike.

>A scale from the major scales

PPFPFFFFFTTT AHAHAHAHAHAHAHSHASD AODBAJOD

I can't find it now, fuck. It was a good implementation of Locrian though

You can't really get a sense for what a specific mode sounds like without harmony.

C major is and always will be the patrician scale

Exactly what I was thinking. Dust to Dust sounds good, but it doesn't really sound dissonant thanks to its uniformity.

Thats just Tetris theme song scale

>he hasn't accidentally written a song purely in phrygian mode, without knowing what phrygian mode is

Medieval, Greek, or modern?

i think what is trying to say is that it sounds bad. Locrian isnt conventionally used for a reason

Kinda groovy desu

modern
ik it's not actually that impressive but it was cool to learn i accidentally did some uncommon thing

also i wanna ask
what scale is c# d# e f# g# a# b? i seem to gravitate toward that a lot

C# Dorian

i'ma make my next song locrian cause of this thread
thx for the gud times

can someone tell me what those notes are so i can tune my guitar to then

You may not need to know all about music theory to make interesting music, but it does help at least exploring different musical scales. Glad we could inspire you lad

>
youtube.com/watch?v=FqfQXJSvbo4

That song doesn't use Locrian all the way through though, it resolves into another scale

Only wise post ITT.

those drums sound so good, how does she get that mix

1 is a microtonally lowered E.
2 is an A
3 is another microtonally lowered E
4 is a microtonally heightened A
5 is a microtonally heightened D#
6 is an E
The microtonal shifts are more likely just because Jandek tuned by ear.

lol

The most popular song I know of that is entirely in the Locrian mode is "Army Of Me" by Bjork

Wait never mind, it's merely Phyrgian.

I'm feeling that a lot lately.
A lot of my Jandek binge recently was a hell of an education on microtones and alternative scaling.

lol It does yeah.

user, I did that in middle school. Find less obvious things to experiment with.

Attached: 1550600981364.jpg (238x217, 14K)

sort of. it's mainly that the tonic chord is diminished (and unstable)

The perfect 5th creates stability, which is what the locrean mode lacks. Locrean is super cool for modulation tho. So say you're in the key E major, then you play a E locrean scale over a Bb (lydian) major chord before coming back to whatever on E major sounds suppperrrrr rich and cool.

>locrian mode lacks perfect fifth
>implying that the second, third, fourth, fifth, sixth, and seventh scale degrees don't have their own perfect fifths

in the tonic chord. you need a stable tonic chord to establish it as the tonic

u sound like a bitch trapped in a box

nobody really has, that fifth b note always makes it sound like horror movie music, there have been cool locrian bass lines th.

The second one sounds like a bit like Stravinsky or Bartok

He doesn't

But this is modal music, user. There is no tonic-dominant relationship. Otherwise you'd be writing tonally and using modes for color.

a diminished chord sounds unresolved. if you don't establish the tonic as "home" you might as well be in another mode

anybody have any resources or keywords for obscure modes/theory/etc.? sorry to ask for spoonfeed

Attached: 1562862578318.jpg (1000x602, 59K)

To establish a modal sound, you don't need a tonic chord at all. That's why it's modal and not tonal and the reason you can use quartal voicings in modal music so easily. You don't even need a stable chord. For example, D/C gives a Lydian sound in part because it includes the #4, but it is not a stable chord. IF we were to apply tonal logic to it it would be a D7 chord in third inversion which could resolve to a G in first inversion (G/B). You could definitely write something lydian sounding with that chord alone as a pedal point.

If you want a more stable sound for that Locrian mode, try a Half Diminished chord (m7b5). However, I agree with what you said earlier. You're right that Locrian isn't that great of a mode to write in because of the half-diminished chord the mode is based on. You could do the inverse, play a Locrian scale when your harmony goes to a half-diminished chord. I just felt the need to point out that you can do away with the concept of tonic-dominant relationships in modal music, so therefore you don't need a tonic. But I think that we're mostly on the same page.

teoria.com/en/reference/m/modes-major.php
These modes are cooler IMO teoria.com/en/reference/m/modes-ma.php
Look at Adam Neely's modal brightness video, I think he might recommend a book there for further reading. youtube.com/watch?v=9rEqrPwVITY

thanks for the links user :D

No problem, happy to help.

I think spoonfeeding is only frowned upon when you beg for an album or some shit.

Yes I agree with what you said about quartal voicings. but in most cases you need to establish a root note as a reference point for the rest of the scale. say for example if you are writing in D Dorian but you don't establish Dmin as the tonic chord and keep returning to a G major chord for e.g. you might as well be in G mixolydian

vocaroo.com/i/s0NFdESUPm9z is this autistic improv in locrian?

Fair point, I agree with that too. It's important to keep the listener rooted in the root note for the mode to make sense.

you know what's really cool
I was fucking around and realized that this sad song
youtube.com/watch?v=SsKlf_x9zRE
is just a progression of 7th chords on a major scale, but played in reverse
like, if you play the same progression backwards, it has a completely opposite vibe

It doesn't sound too Locrian to me, but I may be deaf. The easiest way to get a modal sound is to construct a chord (or several) that encapsulate the sound of it. Take a look at my autistic composition. vocaroo.com/i/s1IrT1D5d1Yr

First four bars are lydian, so I use a B-flat over C chord to try and encapsulate the lydian sound. There are more chords that can do that, but that one is enough because it has the #4. Next four bars I shift to Mixolydian, so my chord is a D/E. Next four bars are technically Locrian, but it's just an E half diminished chord and it even resolves to F mixolydian, so it just sounds tonal.

In sum, to create a locrian sound, you could improv over a half diminished using said chord's locrian scale.

you improv, right?
when you guys improv, do you tend to sit in a key for a while or do you actively try to assign separate scales to chords

Got it wrong, it's a C over B-flat, since I'm on B-flat lydian.

My improv is too basic for that, but sometimes I try modulating and using cool sounding scales.

Why would I think about a piece of music in a mode, like this C locrian for example, as modal rather than simply thinking about it as Db Major?

The diatonic chords are all the same and if you start using non-diatonic material to give focus on a pseudo i chord(because you're not going to use C diminished as your i chord), then you're working with material borrowed from other keys which is more easily done when analyzing material in Major/Minor tonality.

That's what I tried to explain here Don't think of it as tonal harmony. There is no I chord in the traditional sense when you write modal music. There is no dominant-tonic relationship either.
>To establish a modal sound, you don't need a tonic chord at all. That's why it's modal and not tonal and the reason you can use quartal voicings in modal music so easily.
What you need is to construct a chord that encapsulates the modal sound, like my crappy attempt Sorry for spamming this thread so much, I just really like modes.

most microtonal stuff is a lot more rigorous than Jandek though

just use the melodic minor scale, harmonic major and minor scales, diminished scale, whole tone scale, augmented scale, etc. It's not hard.

What relationships are there in modal writing? Just raw voice-leading?

There are other ways of creating tension in music than harmonic tension. There's rhythmic tension, texture density and probably more that I'm forgetting right now.

You can create modal relationships using chords of a mode, or between two modes, all those are also valid ways of creating tension. But yeah, you have to move away a bit from the usual tension-relaxation by harmony alone.

There's definitely more to modes than this, I don't actually know that much about modes, so it may be worth reading up in other places.

>Take a look at my autistic composition.
Some parts sound like an autistic version of Rachmaninov. Lmao

More like the pussy scale.

It's in fact titled: "Moment Musicaux" with full awareness that I'm just a Rachmaninov Wannabe

C quarter-sharp chromatic is where it’s at these days.

No you... ? Also why r u mad?

Not implying that. Obviously since I'm borrowing a big fat Bb major chord from E locrean in my example, for a piece in E. Why are you even here?

>Not implying that
correct, you're explicitly saying it. why are you even here?

You know theres a perfect fifth in a major chord right?

how is that relevant?

The Bb chord in E locrean has a perfect 5th. Which was part of the example. Your being redundant, clearly the post is referring to the tonic chord of locrean, not the whole scale.

okay, I'll go reread your post
>The perfect 5th creates stability, which is what the locrean mode lacks.
stopped reading immediately, it literally says that locrian has no perfect 5th

lmao this nigga afraid of theory

I see what you saying, but anyone with half a brain should know there are perfect 5ths in any diatonic scale. Being hyper-semantic is not helpful, like actually reading the post your commenting on might be.

Yes I have - a fugue too, although I didn't quite finish it:

clyp.it/iksjairr

what are these?

t. rapfag

Triplets have no place in a fugue if you ask me. Otherwise, really well done, probably more technically impressive than anything I will write.

bump

locrian - for when you have to try hard to be original.

spotted the retard

yeah my idea of modes is "playing c major while hammering on d minor" so I figured constantly resolving to Cm7b5 while playing Db major would be locrian