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Starting on
C
and playing to the new formula:
T, S, T, T, T, S, T
.
Now things look a little different.
We have
2 flats. B
and
E
.
That gives us the key signature for
B
Major
.
Which makes perfect sense!
If we go down a tone from our first degree we hit
B
, which if
considered as one degree down from
C Dorian
, we get
B Ionian
!
This whole pattern is deceptively simple in many ways.
Considering the modes in relation to their Ionian degree or major key,
and you can easily get your bearings and relative context in relation to
a particular specific major scale.
Where the modes become much more musically interesting is when they
are harmonically considered for their own unique merits.
Let’s look again at our new
C Dorian
scale.
There are
two flattened notes
when compared to
C Major.
E
is a big deal in this case. It is a
minor third
in the scale.
That has immediately brought us to a
minor tonality
.