Talk:Modal frame

Modal frame
First, if you disagree with cited material, cite a contrasting source. See WP:CITE, WP:V, and WP:NPOV. Secondly, as an excerpt the notation doesn't necessarily require a key signature. However, the notation does appear have a 'key' signature, or rather a modal signature: Mixolydian on G. Lastly, sometimes a letter name refers to all variants of that letter (thus "A" without specification includes A♭, A♮, and A♯). Presumably either that or a typo was the situation in the cited text, though it has been corrected in this article, as you have failed to notice. Hyacinth (talk) 23:18, 29 June 2011 (UTC)

Oh dear, this discussion is still going on? I've bumped into this representation of A Hard Day's Night on Wikipedia before, I'm talking months before, and read the discussions centring on how it's wrong. So first, Hyacinth, it is wrong. This is not a subjective matter, it is simply wrong. The words "Hard day's night" are sung on a D if you are writing it in G Mixolydian (ie, with underlying G chord at that point, as it is in the original recording). Even allowing for transposition, the first notes of the melody as notated are wrong with respect to each other. The first "it's been" is sung a tone lower than "hard day's night", and the interval between "a" and "hard" is a minor 3rd. Second, you demand citations when your own work is clearly original research. My source is the original recording as it apprears on the album A Hard Day's Night, so WP:CITE WP:V WP:NPOV are met. Hyacinth, admit that your score is wrong and remove it from Wikipedia. You must be able to read and hear music well enough to know it is wrong, and your stubbornness is only detrimental to both the WP project and to yourself. 86.147.162.29 (talk) 23:34, 9 September 2011 (UTC)

Mediant octave-mode examples
Without wanting to revise this article, l'm trimming a section from Parlour music that doesn't fit very well there anymore. Here it is, together with that article's pre-merger introduction; good luck! Sparafucil (talk) 06:44, 1 July 2014 (UTC)

Parlour music, actually having little to do with parlours, is Peter van der Merwe's term for the unified style common to popular and semi-popular light-classical and popular, and folk-like music of nineteenth century Europe, "distinct from 'folk' music and uncontaminated by highbrow pretensions." This is the middle and low brow music which European classical music began to gradually and eventually self-consciously distance itself from beginning around 1790. (1989, p.4, 17-18, 321) In contrast to the chord-based classical music era, parlour music features melodies which are harmonically-independent or not determined by the harmony. This produces parlour chords, many of them added tone chords if not extended such as the dominant thirteenth, added sixth, and major dominant ninth. Rather, the melodies are organized through parlour modes, variants of the major mode with the third, sixth, and seventh emphasized through modal frames such as the mediant-octave mode, which uses the third as a floor and ceiling note, its less common variants the pseudo-phrygian, in which the seventh and often fifth are given prominence, and submediant-octave mode.

Mediant-octave mode examples

 * Ludwig van Beethoven's "Turkish March" from "The Ruin of Athens"
 * Frédéric Chopin's Waltz in Ab, Op.34, no.1 theme
 * Kenneth Alford's "Colonel Bogey March"
 * John Philip Sousa's "The Thunderer"
 * "The Yellow Rose of Texas"
 * "Silent Night"
 * Richard Wagner's Tannhauser's song
 * "Rock-a-bye Baby"
 * "The Battle Hymn of the Republic"/"John Brown's Body":
 * Wolfgang Amadeus Mozart's Die Zauberflöte, Papageno's Glockenspiel tune: