Let's develop an FAQ for choosing the right key and mode!

So I wrote these guidelines over in another thread, to help the folks who have been asking how to choose the right mode for playing/transcribing a song. But it's hopelessly complicated for non music theorists! How can we simplify it? What rules of thumb have you been using to transcribe songs?

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There are two considerations for choosing a key and mode: 1) which key/mode will best accomodate the range of the song and minimize alterations to the melody? and 2) which key/mode will allow the player to minimize the use of chromatic fingerings? By avoiding chromatic fingerings, we narrow the collection of fingerings that a player must deal with from 16 down to 11.

First, some considerations about the limitations of the intrument:

1. In every mode except Zeldarian, the Ocarina has a range of an eleventh (an octave plus a fourth). This limited range is the biggest reason why it's important to choose a proper key and mode, because otherwise you will run out of notes at the high end or low end, and have to put awkward octave leaps into the melody. In Zeldarian, you have a total range of a minor 13th.

2. In each mode except Zeldarian, you get one full octave plus a fourth below the root. This is great for songs that mostly fall within the octave and a little below (like Amazing Grace), but creates problems for songs that are within the octave and a little above (more on how to deal with this below).

3. The ocarina has 16 unique fingering combinations and hence 16 individual tones. 6 of these tones will have octave pairs (Except Zeldarian).

4. In every mode except Zeldarian, it is possible to play 10 out of the 12 notes of the chromatic scale. (1-2-3-4-#4-5-#5-6-#6-7). 6 of these notes (5-#5-6-#6-7-1) have octave duplicates. There will always be two notes (#1 and #2) that cannot be played. This is why Zeldarian was created. Zeldarian is the only mode that is fully chromatic, but it has weird register jumps and other inconsistencies that make it less than useful for anything other than the Zelda theme for which it was designed.

5. In every mode, the root is played with fingerings 6 and 16.

6. When playing in the relative minor of the ionian mode, the roots will fall on fingerings 3 and 13. This is sometimes useful to do, as noted below.

7. Sometimes a song may be in one mode, but its range will fit better when played in another mode. For example, "Song of Storms" from Zelda is in (D aeolian), but because it's highest note is a tenth above the root, it's better to play it in the relative major of F ionian to avoid an awkward octave leap. Then the D roots fall on fingerings 3 and 13.

8. Zeldarian mode is a "cheat" mode that maps the fingerings in a way to allow you to play tunes that require all 12 notes of the chromatic scale. It's the only mode that maps to a collection of notes that would be impossible to play on an actual 4-hole ocarina.

9. Ideally, the easiest way to learn to play the ocarina is to learn the fingerings for the major scale (11 fingerings). Then, when you have a minor song, you can just set the ocarina to aeolian or dorian mode and use the same fingerings you already know, without having to bother with accidentals.

So here's a (somewhat jargon-y) procedure for figuring out the best mode to play a tune in. Definitely need a piano or keyboard for this.

1. Determine the key that the song is in. This will often be the last note of the song. The key defines the root notes. If a song is in C major, the root is C.

2. Figure out the highest and lowest notes notes in the song (the range). If the interval between them is bigger than an eleventh (17 semitones on the piano), you will have to put some octave leaps into the melody, or alter the melody to avoid the uppermost or lowermost notes. You can still use the rules below to minimize the need for alterations.

3. If the range is smaller than an eleventh, determine where the two root notes in the song lie wrt the highest and lowest notes. If the melody does not go above the upper root, you have it easy. Just use the mode that the song is in. Major sounding tunes will almost always be in ionian, though certain folk songs may occasionally be in mixolydian and rarely lydian. Minor-sounding tunes will be in aeolian or dorian, rarely phrygian for that 'Spanish tinge'. I have never heard of a well-known tune that uses locrian mode, though it can be fun to experiment with.

4a. If the melody does go above the upper root note, and it's a major key song, use the lydian mode that is a perfect fourth (5 semitones) above the root. This will allow you to play the song without altering the melody and without using any fingerings for accidentals. For example, if you have a song in C major, and the melody goes above the upper C note, you should play it in F lydian. A song in F# major would be played in B lydian.

4b. If the melody goes above the upper root, and it's an aeolian song, use the relative major mode. This is the ionian mode that is 3 semitones above the root. For example, to play a song in E aeolian you would use G ionian.

4c. If the melody goes above the root, and it's a dorian song, use the lydian mode of the relative major (E dorian -> play in G lydian) or the mixolydian mode that is a perfect fourth (5 semitones) above the root (E dorian -> play in A mixolydian).

5. Once you've determined the correct key and mode, go find the corresponding scale in Rob's pdfs:

viewtopic.php?f=5&t=73&p=578#p578

Use that scale to translate the notes of the song into fingerings.

Re: Let's develop an FAQ for choosing the right key and mode!

Wow, what a great post. Thanks modalmixture!!!

best,

Rob

Re: Let's develop an FAQ for choosing the right key and mode!

Ok, I'm still lost. My question pertains to Greensleeves, which I love and want to learn. The Root is shown as A-Sharp/B-Flat , in Ionian. How does that work?!? I set it to A# but there are definitely some tones that don't sound quite right. What am I missing?

Thanks!

Re: Let's develop an FAQ for choosing the right key and mode!

I posted the Greensleeves. When I get my nerve up, I'm going to post a video of how I play it, that may help. It may have to do with the way I tried to render slurs from one note to another, which doesn't really translate well in the tabulature.

Or, we may find out I made some mistakes, boy will I be embarrassed! But there are some good players here, I'm happy to accept any advice.

PS: Kudos to Modalmixture for a great post. If you have any ideas about Greensleeves....

Re: Let's develop an FAQ for choosing the right key and mode!

Steve, you did a great job with the Greensleeves transcription. I don't notice any wrong notes. You tabbed it out in Bb ionian, which works fine since the song is in G aeolian and Bb ionian is the relative major of G aeolian (both scales use the same set of notes, they just start and end in different places).

My only suggestion is that the range of Greensleeves is slightly better suited to being written in the native G aeolian. Then you'll be able to hit the low D at the end of the first verse, which can't be played in the Bb major fingering. That one note turns out not to be a huge deal and your version avoids it by holding on the F#, which also works fine.

How do you decide whether to write a minor song in its native minor or the relative major? One way is to look at the two scales in Rob's pdf's and see which one will best fit the range of the melody.

Another way, described in my post above, is to look at where the range of the song falls with respect to the two root notes in the scale. In this case, the song is in G aeolian, so the root notes are G. Find two G's an octave apart on the piano. Then locate the highest and lowest notes in the song. The notes that might cause you trouble are the notes that fall outside of that octave.

The highest note in Greensleeves is an F that falls just below the upper G root, within the octave, so that's no problem. The lowest note is a D that falls below the lower G root. That D is too low to play using the Bb ionian fingering, but you can play it just fine in G aeolian. In fact that note defines the lower range of the G aeolian fingering.

In other words, if the range of a song looks like this on the piano:

G------G--- (stays within the octave and a little above)

and it's a minor song, play it using the relative major fingering. If it's a major song, use the relative lydian or mixolydian key.

If it looks like this:

---G------G (stays withing the octave and a little below)

then you get off easy: just use the key and mode that the song is in, like Greensleeves.

Re: Let's develop an FAQ for choosing the right key and mode!

Thank you so very much. That's a great explanation. I'm curious now to try the Aeolian mode.

{A couple of hours later he adds the following}

Modalmixture, your post was so right. I've retabbed Greensleeves for G Aeolian and it's just perfect. Thanks!!!!!!!!!!!!!! I'll post it and if possible a video performance as soon as I can...(darn work!!)

Re: Let's develop an FAQ for choosing the right key and mode!

Stevarin Ocarina, I will look forward to the G Aeolian! Thanks for your hard work! Could you please post when you have uploaded it?

Re: Let's develop an FAQ for choosing the right key and mode!

Yes, I will. Perhaps tonight, schedule permitting.

Re: Let's develop an FAQ for choosing the right key and mode!

OK, it's up--I added it to the original Greensleeves thread.

Re: Let's develop an FAQ for choosing the right key and mode!

(I just finished posting this in another forum and thought it was worth posting here for anyone interested in some tips!) However, be wary, I expanded it and virtually get into a sort of treatise on the arranging and transcribing of tabs (if not a full pedagogy for writing these tabs!)

TIPS: Writing Tabs for Smule's Ocarina:

    I say this, because as a composer, it is my belief the most important thing to do when arranging or transcribing a melody or theme is to get all of the correct notes. This also somewhat simplifies the process for those of us who may not have a strong background in music theory and, vice-versa, those of us knowledgeable in theory won't get stuck looking for the right root or mode since we know the Sun Song (for example) is a major melody.[/*:m]

    Next, using the pdf files on the right side of this page within the box labeled 'modes', determine which available mode on smule's ocarina allows for the best combination of the theme's full range and full collection of notes.
    In the case of Bratja, it goes from middle C (or C4, just below the staff) to F5 (just on top of the staff), with no altered pitches (all natural). The the best mode to use allowing for this full range of correct notes is F ionian. Why? Though you could "get away" with transcribing these tabs using an all-natural key signature (or C ionian), we wouldn't reach the highest notes, and would then have to move segments down the octave.

    Though F ionian *has* B flat in the key signature, the chromatic pitches that Smule gives us in the ionian mode, allows use of the B natural. Also, F ionian allows us to play from C4 to F5 as notated in my transcription.[/*:m]

Arranging Bratja, Zelda's Lullaby and Sun Song is what has spurred this rather lengthy post.

Basically here's the process: Bratja is written in D natural-minor with an accidental B natural, however the D natural-minor doesn't have the right notes. As suggested in previous posts, writing the tabs in the relative major gets the job done, however, let's imagine I don't know what "relative major" means (and didn't know until I was a music major in college); I won't come to that conclusion very easily, and if anything that may discourage someone from writing these tabs. However there's an easy fix: write all the notes, cross-reference the pdfs until you find one that has all the notes, then input the buttons!

With Sun Song, the problem was simply an altered pitch -- G major with an F natural: theoretically that's how the music works. However this realization, likewise, doesn't make it any easier for us to pick the mode that gives us the right range and the right notes. Same simple fix: collect all the notes, cross-reference the pdfs, pick the mode that gives you the range AND the pitches. In this case, the correct answer was A natural-minor (aeolian). Or in other words, the relative minor mode of the "relative Lydian" of G major (rel. minor of C maj). Even for us music theory junkies, it's needless work to consider the "relative-this of the relative-that of this" to transcribe the Sun Song (also considering "relative-church mode" of X isn't typical music theory jargon, or none that I've personally come across)! For me, it was easier to notate the music (also creating an invaluable reference for the community), then use that to cross-reference the modes.

With this in mind: DO NOT MAKE THE MISTAKE of referring to the mode you *TABBED* in as the key of the melody you transcribed. For example, Bratja was not written in F major; Zelda's Lullaby was NOT written in A Dorian, nor was Sun Song written in A Aeolian. Though my transcription of Bratja was TABBED in F ionian, it was only for the simple purpose of playing it correctly on Smule's Ocarina: Bratja is actually written in D minor, and anyone who took it upon themselves to transcribe and analyze either my recording or the original recording would arrange it as such!

I cannot tell you how many times I've come across people who said Zelda's Lullaby was written in the key of B (major) when it's ACTUALLY written in G major, simply because their tabs were in B Zeldarian. The culmination of all my considerations listed below, are the reasons behind WHY the key our melodies are TABBED in, may not necessarily be the key the melody is WRITTEN in.

CONSIDER these facts:

    Since smule's Ocarina does not physically allow a full collection of chromatic pitches, or ALL sharps, naturals and flats, (unlike real professional-made ocarinas), this application is limited, not only by its range, but by a predetermined collection of notes as well (i.e., some modes DO NOT have a D-flat, etc.). In the case of Zelda's Lullaby, there was no mode that accommodated the melody's full range (E4 to high D6); in that case, some *creative* arranging was required in order to accomplish an idiomatic arrangement of the theme that met most of the community's standards.

    This is no substitute for identifying the proper mode and theory behind a melody. In fact, for mostly diatonic melodies (like Marty O'Donnell's popular Gregorian chant for Halo), all you have to do is identify the mode and root and memorize the diatonic fingerings. For instance, the diatonic fingerings for every mode are EXACTLY THE SAME. If you know the Halo theme starts on E and is in the Dorian mode, then you may not need to transcribe and write tabs for it at all!

    Now, if you're background in music theory is lacking or you truly are a novice musician, than try visiting this website: Dolmetsch.com, for a crash-course in music theory. Even if this is anyone's first exposure to performing music, this opportunity should be taken to learn more!

    Though I *try* to give simple remedies to solve minor tabbing and arranging problems that don't require a deep insight into modes, pitches and contemporary compositional techniques, I think any enthusiast that's a member of this community should go and brush up on some theory. It's amazing how our understanding of the underlying structure of music can be enriched by our knowledge of modulations, tonicizations and chord progressions!

    (and now I'm off to bed!)

    [/][/]

Re: Let's develop an FAQ for choosing the right key and mode!

Good Job

Re: Let's develop an FAQ for choosing the right key and mode!

Good Post

Re: Blowing and headphones

As far as i can work out when in blowing mode you cannot listen through the headphones. is that correct?

Re: Let's develop an FAQ for choosing the right key and mode!

simonfcraig@gmail-

Umm, that is not quite correct. What device would you be using, with what microphone?

elon

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