andru235 from far away a trumpet calls
the muted air now filled with mist
the lonely chant of empty halls
the quiet steps of those unkissed

tho', sharp the a and find a cache
whereby a new mode dost emerge
or flat the g for songs of hash
the song and chant, from a distant dirge
unhinged unsettles me somehow, with the half steps just not being in the right place

modes , i don't get 'em
z modality is often very beautiful to me. it frequently reorganizes my thoughts, implying a different resolution, a different answer if you will. i have occasionally experimented with parallel harmonies which are related to modes but not modal. parallel sixths are very strange; almost like playing in the minor and major simultaneously, but not quite. i am often deeply moved my modality. 050224
no reason you think 3, i think 4
it may always be the difference
andru235 what's great (to me) about modes
is that by shifting the mode of a piece (or part of a piece) of music, one hears the work as it might have been written by someone else. it is like meeting the piece of music's second-cousin.

of course some modal shifts work better than others, especially if one is working with the 'newer' (read: recently re-discovered) modes
. phrygian 'ell 050308
psa What's confusing for me is the difference between English and French structure, where the later generaly uses the lenght of syllables (pieds) as count whereas the former is based on tonic accents.

I end up writing in English with French structure; not always palatable, strictly speaking, but it has its moments.
psa Wrong post! Witeto Zelkia. It's late. 050308
andru235 mysteriously
it started on 'e'
'twas played on a harp
but without an f-sharp!
unhinged the phrygian mode was used to inspire war in men

and a 5/4 time signature

i find the unsettling nature of both of those things interesting
what's it to you?
who go