tag:blogger.com,1999:blog-3973458659349895498.post8495222476095121751..comments2022-04-08T13:19:25.119-05:00Comments on Miskatonal Studies: Writing in LocrianUnknownnoreply@blogger.comBlogger2125tag:blogger.com,1999:blog-3973458659349895498.post-34279830335819721642020-07-18T16:57:35.491-05:002020-07-18T16:57:35.491-05:00The example using "Mary Had a Little Lamb&quo...The example using "Mary Had a Little Lamb" illustrates my point, but for a serious arrangement in Locrian, you might want to change up the tune somewhat, and use other chords, but still return home to Locrian.Mike Strandhttps://www.blogger.com/profile/01197134631973906505noreply@blogger.comtag:blogger.com,1999:blog-3973458659349895498.post-4324652570339434002020-07-07T10:46:46.339-05:002020-07-07T10:46:46.339-05:00Why is writing in Locrian mode considered so diffi...Why is writing in Locrian mode considered so difficult? Consider the tune for "Mary Had a Little Lamb". <br /><br />1. To write it in B-Ionian (major), a simple way is to play the tune using the notes d#, c#, b, and f#, and accompany the tune appropriately with the B-major and F#-major chords, ending the tune with note b and chord B-major.<br /><br />2. To write it in B-Aeolian (minor), a simple way is to play the tune with the notes d, c#, b, and f#, and accompany this sadder tune appropriately with the B-minor and F#-minor chords, ending the tune with note b on B-minor.<br /><br />3. To write the tune in B-Locrian, a simple way is to play the tune using the notes d, c, b, and f, and accompany this surreal, sad tune appropriately with the B-Locrian (e.g. B-D-F-A) and F major7 (e.g., F-A-C-E) chords.<br /><br />If the first arrangement of "Mary Had a Little Lamb" is considered to be in the key B-major, and the second in the key of B-minor, we may consider the third arrangement to be in the key of B-Locrian. <br /><br />Our so-called major and minor key compositions (e.g. Beethoven's Appassionata sonata in F minor) may spend quite a bit of time in other keys, but are considered to have a home key or tonality. By analogy, we may compose a piece in a Locrian key that is considered the home key or tonality of the piece, that spends time in other keys or modes. Now, this unusual musical home may sound uncomfortable, restless, or unresolved. But so what? Like much of real life, right?<br /><br />Now we can move on to writing "You Are my Sunshine", and maybe even new tunes and larger compositions, in Locrian mode viewed as "home" key.<br /><br />Björk's 1995 hit tune "Army of Me" is considered to be in home key of C-Locrian. My new rock tune "Wait It Out" is in B-Locrian. Here's the link to "Wait It Out": https://www.sheetmusicplus.com/title/wait-it-out-rock-version-digital-sheet-music/21756181<br /><br />Ending progressions using 3-note chords can be done by analogy: Instead of C#m, F#, B to end on B-major, use C, F, Bdim to end on B-Locrian. If you like to use 4-chords, use Cmaj7, Fmaj7, Bm7(b5) to end on B-Locrian. Yes, it sounds surreal and sad. That's the whole point to using Locrian mode!<br /><br /><br /><br /><br />Mike Strandhttps://www.blogger.com/profile/01197134631973906505noreply@blogger.com