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folkmusic

July 19, 2021 By Aron Bernstein 7 Comments

Weekly Music Theory Challenge 7/19/21

Show off your theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

Misirlou and Hava Nagila use two different scales that are almost identical. In fact, only one note makes the difference between Misirlou’s scale and Hava Nagila’s. What are these two scales, and what makes them different? Hint: the Hava Nagila excerpt here does not start on DO (the tonic).

Listen: Misirlou
Listen: Hava Nagila

Reply to post your answer, and check back on Friday, July 23rd to see the answer!

ANSWER for 7/19/21

Misirlou is an Eastern Mediterranean melody that uses the Double Augmented Major scale. It’s made from two identical tetrascales, each with an augmented 2nd flanked by half-steps. In solfege, it’s DO-RA-MI-FA-SO-LE-TI-DO:

LISTEN

Hava Nagila is a Jewish song based on a Hasidic melody. It uses the Phrygian Dominant scale, so called because it’s what you get if you build a scale on the fifth note (or dominant) of the harmonic minor scale; and because of the half-step between the first two notes, characteristic of the Phrygian mode. The only difference with Double Augmented Major is that Phrygian Dominant has only one augmented second. The seventh note makes that difference: it makes a whole step with the 6th note, whereas in Misirlou it makes another augmented 2nd. The solfege for Phrygian Dominant scale is nearly the same:DO-RA-MI-FA-SO-LE-TE-DO:

LISTEN

The Double Augmented Major scale is also called Hijaz-Kar in Arabic. The Phrygian Dominant mode, when used in Jewish prayers, is also called Ahava Rabbah or Freygish.

Want to Learn More?

Learn every scale in the book with my entire series of videos in the Scales Module! Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys, and stay tuned for new lessons on non-Western scales. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

Filed Under: music theory challenge Tagged With: breakingbarlines, classicalmusic, folkmusic, havanagila, misirlou, music, musiceducation, musiclessons, musictheory, popmusic, scales

May 24, 2021 By Aron Bernstein 1 Comment

Weekly Music Theory Challenge 5/24/21

Show off your music theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

Music Theory a la mode! Here are two of Bartok’s Romanian Folk Dances. Which mode is each piece written in?

Romanian Folk Dance No. 2 by Bela Bartok
Listen to Audio
Romanian Folk Dance No. 6 by Bela Bartok
Listen to Audio

Check back on Friday, May 28th for the answer!

ANSWER for 5/24/21

Romanian Folk Dance #2 uses the Dorian Mode. Dorian is identical to natural minor, except that the 6th note of the scale is raised a half-step. So in the key of D minor, the B natural is what gives it away:

This is what the Romanian Folk Dance No. 2 would sound like in Natural Minor, rather than Dorian:

Romanian Folk Dance #6 is in the Lydian Mode. Lydian is the same as a major scale, but with its 4th note raised a half-step. So in the key of D major, the G sharp gives it away:

This is what the Romanian Folk Dance would sound like in Major, rather than Lydian.

Want to Learn More?

Brush up on your scales with a whole series of lessons in my Scales Module!  Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Also, this year I’ll be adding new lessons on modes. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

Filed Under: music theory challenge Tagged With: bartok, breakingbarlines, classicalmusic, dorian, folkmusic, lydian, modes, music, musiceducation, musiclessons, musictheory, popmusic

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