Various Various TRACK71
This piece is written around two different key centres; the first of these is shown at the beginning of the score as two sharps: F# and c#. As we have seen before, this key signature can mean one of two things – either the piece is in D major, or this key’s relative minor, B minor.
When you begin to play the piece, your ear will normally deduce whether you are playing a major or minor-sounding melody and in this case we are playing in B minor. But we can go a little deeper than describing the tonality as simply ‘major’ or ‘minor’ by using modal names such as Dorian, Aeolian or phrygian in order to specify different ‘shades’ of minor. The intervallic differences between the modes comes down to no more than changing a note or two here and there.
For example, for B Aeolian to become B Dorian we simply move the 6th note up a semitone; B Aeolian is B-c#-D e-F#-G-A-B, while B Dorian is B-c#-D-e-F#-G#-A-B.
It is a good idea to keep your fingers within the Dorian scale framework as much as possible so you don’t get too lost in the fretboard.