As I stated in my tiny musical biography, I set out to learn music theory completely on my own, with only books to help. Not one of these was exhaustive, though (as might be this intro, I'm afraid!). So, I had no other choice but to try and dig everything out myself. As I scrutinized every song I could lay my "ears" on, tracking mode/mood (=scale/lyrics) relationships, a pattern eventually started to emerge.
Bit by bit, I became convinced that our own Great Masters tended to use the numerous scales at our disposal as if they were colours. (Here, I need to stress on the fact that, in this Scale/Colour notion of mine, I'm not trying to establish any relationship of a "physical" nature; i.e. I'm not after proving that such and such scale corresponds to such and such colour based on any resemblance between the intervallic structure of the former and the wave length of the latter. Mine is merely an empirical description of a historical tendency.)
It thus became clear to me that a given scale would, quite normally, be used to express a given positive frame of mind as well as another negative one. For example, just as the colour "red" may remind some people of "roses", while the same colour might just as well remind other people of "fire", and still others of "blood", the same phenomenon is equally applicable to any given scale.
To make your life easier, as well as mine, I'll use "tetrachords" (= four strings, from Greek) to show you what I mean. Tetrachords are the building blocks of scales; an octave, in fact, is composed of two superimposed identical/non-identical tetrachords. (Traditionally, a tetrachord is called a "Wing" in Arabic; so, a scale, much like a bird, has two "wings".)
I should add that we have a curious variety that one is tempted to call a "pentachord" (penta = five). The reason is that while tetrachords are confined within a perfect fourth, certain scales of ours simply defy consistent, thus scientific, analysis without introducing the notion of a pentachord; i.e. a group of five, consecutive notes confined within a perfect fifth.
|Personal happiness, Satisfaction, Morning/Sunrise, Wonder/Amazement, Military/Anthems|
|Brooding, Lost hopes, Disillusion, Gentle blame, Anything in between the two extremes (above & below)|
|Kord (or Kurd)
|Anticipated/Faked happiness, Sad memories, Rhetoric questions (=refusing to believe), Submission/Resignation|
|Glory, Vivid (= bleeding) pain, Weeping, Passion, Sentimentality|
|Passion, Divine love/Love for God|
|Warmth, Affection, Tenderness, Happiness for others|
|Extreme joy, Acute feelings, Anger, Violent blame, Enthusiasm, Frustration, Suffering, Lamentation|
This next tetrachord
is rather weird, though one of the most popular, as it contains
both the three-quarter-tone and the one-and-half-tone intervals.
This gives it the warmth of the reddish and the poignancy of the yellowish
varieties, all in the same time.
|Weeping, Bleeding pain, Agony, Extreme joy for something or someone deeply cherished, Repentance, Sincere regret|
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