G sus...

 

cool story bro

 

You are correct, D to D all white notes is the Dorian mode. It's not a minor scale, but it does feel closer to minor than major.

Foster is just being a smartass, demeaning others with his claimed knowledge - but it backfired.

 

This is the best use of AI I've seen on this forum

 

@ijah Tafari & @Barry T ...

If you had to decide on whether D Dorian was either a minor or a major scale, which of the two would you say it was, and why?

Remember, Nigel Tufnel's scholarship explains that D min is the saddest of all keys, so which one emotes to the vibe of the sadder sound.

 

Let me see now.... The miner chords are the ones that can't be seen/heard unless one wears one of those hardhats with the lights on them right?

I know this to be correct because my "AI" music composer app told me so...

 

Potentially butthurting verbiage and subsequent theory nonsense aside... I pretty much agree with the op.

Doesn't feel Fostery to me, in fact it's the opposite. The standard Foster position is that learning to write music is impossible.

 

You are correct and it's part of the C Major scale, the second mode.
D Dorain - D,E,F,G,A,B,C,D - all white notes.
There is value discussing, but reading some of the comments, I find it unnecessary and great musicians just do it, and don't talk about it unless asked, that should tell anyone everything they need to know. They also likely do not think of themselves as great either.

Any chord that has an interval of a minor third from the tonic is theoretically a minor. A diminished 7th is made up of all minor intervals too e.g. D diminished 7 - D,F, Ab, Cb(B).
Am is the relative minor of C and its mode is Aeolian, it too has all white notes on a piano. That's just theory shit... anyone can find it online too.

The amazing thing about music is the ability to share information through sound.

Music is designed to please the ears and be shared.

It has never been about who is better than what. Does it sound good? Great. That's what matters most.

P.S. - Music isn't a competition, it's a journey. The only competition is with yourself to be better tomorrow than you are today.

 

Last edited: Jun 15, 2025 at 10:33 PM

P.S. Audiosex posters - Trace is FOSTER. The OP is something else.

 

Ah, it reminds me medieval ages, when each mode had its own meaning, when no transposition was allowed because there wasn't any tempered scale... long ago, before civilizations were born, before first sun rising, before Hollywood...

 

Music is like a wild horse. No one can tame it.

 

I would say neither, as it is technically a mode and thus neither minor, nor major. However, as far as feeling is concerned, one could argue that it sounds more "minor" (and hence, darker).

As far as the relative emotion of keys is concerned, that is largely inapplicable today due to modern tuning schemes. A case could be made regarding various instruments producing a slightly different feeling per key, due to the characteristic harmonics produced, but in the digital realm the difference is negligible.

I'm sure most on this forum are familiar with this, but out of interest I am attaching a chart with pretty accurate descriptions for the mood of each mode.

To this day I have not managed to make Locrian sound good...

 

As a suggestion. try not automatically moving to the next note after it in scale fashion.
Try a B Locrian on a Cmaj9, just do not go immediately to the C if you start on the B, it can sound good and surprisingly 'pretty'. The C is not wrong of course, but you will get that feeling that it leans more towards making the Maj7 sound tense instead of nice. People assume that a Cmaj7 in the Key of C should automatically dictate something specific like the Ionian. Mix it up, you'll find all the modes work on it and give a different sound in your voice leading. Think of any line as a melody creator. A lot of modal usage is approach and mindset. It's only a starting point. Chord interval starting points work equally well, if not better in some cases.

 

Thanks! I was mainly joking about Locrian, but you shared some thought-provoking suggestions, which I really appreciate. I'll see if I can play around with your idea at some point.

There is a Bjork song floating around that uses Locrian to achieve a cool "chaotic" sound:

 

Bjork have some very clever things happening in their music.
Also with the B Locrian, try it on a Dm too. It gives the Dm a Bm7b5 sound, very dark

 

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You may be interested to know:

I didn’t know at the time, found out about a decade or more later, that the chorus part of the first riff I found, changes from C minor to C major, very unusual, quite tricky to muster too and it’s that alone that really gives the riff and song a strong lift, I’ve tried a few times to pull it off again, not sure what’s preventing me, but will still look into it now and then as it bugs me, and only interested cos of the huge lift it gives and it also bugs me that it’s not, logically straightforward. Anybody know?

Listen to, Runaway by Del Shannon, minor to major, gives big lift into chorus, and Norwegian Wood by Beatles, major to minor, opposite of a lift? Up to down, or happy to sad maybe, just as effective.

Far out eh.[/QUOTE]

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Some call it Mode Mixing...

 

Jazz musicians have been doing it since the 1950s, possibly earlier.
If it sounds good, agreed, do it.

 

I understand my note very well, thank you.
I know my intellect is limited so I just chose one and stick to it.

 

Sheesh, if your intellect is limited everyone here is fucked.

- Is the screaming you hear when you throw a piano down a mine shaft without telling anyone.
Mostly A flat miner.

 

Last edited: Jun 16, 2025 at 6:25 AM

Two sitar players performing a duet, one an old master and one a young prodigy. Following the performance the old master was asked why it was that the young prodigy played so many more notes than him when he would only play one. He answered that it was because "the young man was still searching for his note and that when he eventually found it, he would play less of them".