Some of you rightfully noticed a little mistake I made in the ascending melodic minor. The B-flat should be a B. 😅 Anyway, it’s not part of the modes and I cut it out of the video so you can disregard it either way for the purpose of this topic.
Hello, Anne! I know, you're quite busy, and there's a lot of stuff planned, as you mentioned, but may I ask, when will the Instruments: Brass video come out? Strings and woodwinds videos were really helpful And, anyways, thank you very much for your content. For me it feels that all the progress I made in writing music and making mock-ups is just because of what you do
@@noelleggett5368 Growing up in Central Europe we all used "B" for Bb and "H" for B Natural. Entire classical literature used B and H since we were kids. The best example to illustrate this issue are selections from Bach's Das Wohltemperierte Klavier - Preludes and Fugues. In H-Dur and H-moll (B-Major and B-Minor respectively) would occupy positions 23 and 24 in both books. For Bb we used "B" so, Prelude and Fugue in B-Dur and B-moll would occupy positions 21 and 22 in both books. I hope it helps 🙂
I really don’t understand the strict adherence to no parallel 5ths or octaves. Maybe it’s because I come from the choral world but those rules aren’t followed by modern composers at all that I’ve seen.
This is one of the best videos I’ve seen on modality and mainly because you chose only one composition to show the changes. So helpful to see the practical use and hear the changes in real time
There are many RUclips videos about modes but none of them demonstrate it as clear as this. I think what did the trick for me was that you played the SAME composition in all modes. Very effective demonstration. Another good video. 🎉
That first page with all six scales positioned in descending order of brightness (mood) is a great way to convey this. It's hard to decide if these videos are more educational or entertaining. Thank you.
Amazing video! I don't think I've ever understood the practical use of modal chords until today. I was taught modal scales by playing all the white keys starting at C for Ionian, moving up to D for Dorian and so forth. Your explanation made way more sense 🤯
The orchestation from time 10.20 for the original is so beautiful to hear, I was rewinding it again and again Thank you @AnneKathrinDernComposer , that was so nice🎉
Vielen Dank für dieses sehr hilfreiche Video. Dies ist für mich der beste Beitrag, in dem ich endlich mal verstanden habe, wie die Modi funktionieren und welche Wirkung dies haben können. Also nochmals vielen Dank !!!
The best video I've ever seen explaining music modes ❤ I love the way you are explaining music. Your video on harmony making several different harmonies on same melody is one of my main references to watch every other while. Thank you Anne 🌹
11:33 😊 Right ? Ha, ha ! So precious ! Great video. As always, right-to-the-point. Reminds me of my lessons when I was a kid with this 80 y.o. German organist who made me “alter” various Bach’s preludes to different modes…This approach is precisely what should be studied by all aspiring media composers. You could have actually used your own “The Jade Pendant” main theme (Peony, Peony’s Dance, The Restaurant) as an illustration of modal interchange. Then move on to “The Thief” as an illustration of the same theme in different bearbeitung…. Great strings timber BTW.
AKD, kudos for raising modality as a topic of conversation. The Gregorian Modes you present are a wonderful starting point to some incredible sounds, colours [correct spelling in my part of the world], moods, and musical characters. Each is wonderfully unique. Organising them light to dark is also a practical solution when we are still learning them, eventually that categorization is internalized and it becomes part of our writing language. I'm sure I'm 'preaching to the choir' in saying that the Gregorian Modes are the first in a collection of mode sets that can/should be explored by anyone looking to score film/tv/games music. Case in point, the Melodic Minor Modes have been well plundered in association with 'Space' and the SciFi Genre, as well as other genres. C D E F G Ab Bb C [1 2 3 4 5 b6 b7 1] (Melodic Minor Mode 5) is imprinted on all our brains thanks to John Williams. See the transition to underscore from the opening credits of 'Star Wars'. A little more obscure but astutely used by Tom Howe and Harry Gregson-Williams are the Harmonic Minor Modes in 'Whiskey Cavalier'. The Harmonic Minor Modes got an incredible workout in that show, but that's not the only clever bit of modal writing going on. Worthy of mention is how the Harmonic Minor modes are associated to the 'spy' plot points, and Gregorian modes (the ones you've presented in this video) are associated the 'relationship' plot points. Thank you Mr Howe and Mr Gregson-Williams for raising the bar for all of us. For the sake of it, try taking Super Locrian bb7 (Harmonic Minor Mode 7) for a spin and enjoy the spy tension. C Db Eb Fb Gb Ab Bbb C [1 b2 b3 b4 b5 b6 bb7 1] Much to explore and enjoy.
After receiving the midi files, I'm sorry I didn't pay for a double shot of coffee. For me, a better way of thinking of the modes. The accompanying PDF file, was also very informative. Thank you for your work.
I love watching you videos and I always learn a lot from them. It's also the first time I can see you that upset and I hope it's not because you received a lot of bad mood from viewers lately. If so, I will try to make you ignore them by repeating how much I appreciate what you do with your channel 🤩
Love your videos. Smart, cheeky, funny, and such an entertaining way to learn. Your charm and wit is a winning combo. Simple, unassuming, and a joy to watch. Thank you and my best wishes for your bright career...
Never thought to write a melody and then change the notes and harmony to make it a new mode like this - would instantly cough up sad B sections and other treatments of a theme for a movie. Very cool!
Thank you very much formaking this video. I found that a much more useful and intuitive way of seeing what notes are in the particular modal scales; and also what we're trying to achieve by choosing one over the other - the brightness/darkness ranking. Great, thank you! My brain liked your way of explaining that subject.
Once again, an excellent video with very expressive examples, thank you very much for your work. We are very grateful to share your knowledge with us 🙂
I found you a long time ago, but I'm a slow commenter. I now comment on all your videos. Thanks for a very inspiring way of dealing with things. I'm Finnish and my English isn't perfect, so your clear way of speaking is like beautiful music to me! Success in your career, you deserve it!👍👍🥰🥰
Great video here!!! I'm with you in stating that I absolutely HATE the videos where they teach modes using the white keys only and moving up one interval at a time. Super annoying. Thank you for this video. Helps me as a teacher myself to make sure I giving real world examples with my modal lessons. Awesome stuff as usual.
Love your explanation of modes all based on a tonic of C. One of my professors demonstrated modes exactly the same way, and it was (oddly) revelatory to my 19 year old brain at the time. The explanation of modes as all in the key of C major is helpful for certain instrumentalists to understand fingering and to understand how the modes relate to each other, but I agree with you that it doesn't help enough with understanding how the modes SOUND. Thanks as always for sharing your knowledge.
A really effective way to explain modality. You got me thinking about harmony changes and substitutions in a different way. I fully agree. .don't make music academic, use your heart. (ears/soul) Welcome back. Its been a stretch. Congratulations on all your important musical work.
I truly enjoy your videos and I love how you explain it all. After seeing your video I started to try it out in my music and it’s super cool 😎. Thanks Anne for sharing such wonderful content and your love for music with is all ❤❤❤
Thank you very much! As a hobby composer, I only heard about modes in the way you talked about in the beginning, playing all the white keys c-c, d-d etc. But your video and the orchestration example really helped me understand it now. Greetings from Switzerland!
By far the best and most practical explanation of modes I’ve watched. To actually hear the difference within a familiar reference framework is brilliant. Thank you for this… in fact, could you possibly make a vid on this parallel 5ths and octaves issue within voice writing and why we’re supposed to avoid.
MIDI sequencer as a music theory teaching tool is very powerful. I wish someone had explain tonal modes with this angle when I studied them. I started to understand the deal when I was learning improvisation. But to me it was bunch of tricks : There's the leading note being altered or not, the minor scale with what you choose to do with the 6th and the major with what you choose to do with the 4th. Then there's locrian mode which I mistook for the diminished scale for a long time, but I finally got it by composing. Thanks again.
Wonderful topic, I love writing modally. Learning how to write modally and properly harmonizing definitely requires some practice but is so rewarding. I first learned how to do it in a jazz context and avoiding the pitfalls of letting the harmony go back to the tonal root instead of the modal root.
That was brilliant to show the difference of the modes using the same piece of music. I've been through advanced theory in college but not displayed the differences musically.❤
I find the first way, all the white keys, but altering starting and end points, + playing and listening to each of those scales a helpful way to perceive it, because it’s like getting different perspectives of tonality and harmony, the paradigm shifted with each changing start & end point.
When I first heard modes explained as 'shifting white keys', I translated that into "what moves?" so I could better understand it. Thanks for taking that approach here.
sweet! nice explanation. Just used A Locrian (yes, on purpose) for a short demo piece the other week. cool to FA&FO with sometimes. haha. Again, great video. I always appreciate someone else's way of thinking about things. May not always agree, but then sometimes I find out I'm working my brain harder than I need to. So thanks!
Thank you for this video. It took me years to figure the modes out because most of the books I studied from make you compare the mode with the parent scale (I studied this stuff in Italian, so I don't know the correct term in English). And I never understood what was so magic about the modes because C Ionian or D Dorian, it's still the same notes. Until one day I decided to compare C Ionian with another parallel mode and cleared one thing. But still it still felt like I was playing a Bb Major scale and not a C Dorian scale. Then I tried to "force" some music across the different modes (like you did here with Davy Jones' Theme) and everything was clearer. I should go back and do the same exercise with the harmonic and melodic minor and their relative modes. Thanks for the video, Anne! 🔥
Thank you! And for the record I always enjoy your charming self. You make me laugh and I can’t truthfully remember a university music professor who did. So I’ll be back.
The way I learned modes is by having pedal tone of the root of the major scale. So in case of C major, keep droning C note, and then to play dorian, you just go up the scale. That's when I actually heard what each interval and note in the mode does to it and what kind of feel it evokes. My brain needed context and reference of a baseline to know what changed. So if anyone struggles even with the approach Anne shown, try doing what's shes doing, but drone the C note at the octave lower and play the mode up and down.
This is great. Thanks for the explanation and examples. ( I learned about this in collge but their explanations never really made sense. These absolutely do make sense). Thanks for continuing to make these videos.
Modes are referred to (you could also say 'attached to') a specific note (usually a bass note) and the notes can be played as a scale up and down or forming phrases, where the player would jump across the built in interval structure. Also the modal bass note can be an interval (so called "characteristic" interval for that mode but can be a simple "fifth") or even a triad (chord, usually structured from the said bass note as a modal root note). Scales are just the modes but no harmony (bass note is needed) and the notes go up or down consecutively as an exercise.
Some of you rightfully noticed a little mistake I made in the ascending melodic minor. The B-flat should be a B. 😅 Anyway, it’s not part of the modes and I cut it out of the video so you can disregard it either way for the purpose of this topic.
That’s how we practiced it, at least in Europe. Melodic - ascending, natural - descending. No worries 😊
Hello, Anne!
I know, you're quite busy, and there's a lot of stuff planned, as you mentioned, but may I ask, when will the Instruments: Brass video come out? Strings and woodwinds videos were really helpful
And, anyways, thank you very much for your content. For me it feels that all the progress I made in writing music and making mock-ups is just because of what you do
Confusing B flat and B. Is that a German thing? 😂
@@noelleggett5368 Growing up in Central Europe we all used "B" for Bb and "H" for B Natural. Entire classical literature used B and H since we were kids. The best example to illustrate this issue are selections from Bach's Das Wohltemperierte Klavier - Preludes and Fugues. In H-Dur and H-moll (B-Major and B-Minor respectively) would occupy positions 23 and 24 in both books. For Bb we used "B" so, Prelude and Fugue in B-Dur and B-moll would occupy positions 21 and 22 in both books. I hope it helps 🙂
@@KrystofDreamJourney I know. That was a ‘musical joke’. (Hence my laughing emoji).
"I see a whole lot of not my f*cking problem" 😂
😂😂
She has such a coolness factor :)
I'm going to start using that phrase at work for now on. 😂😂
Ow… I’m so glad you’re back
I really don’t understand the strict adherence to no parallel 5ths or octaves. Maybe it’s because I come from the choral world but those rules aren’t followed by modern composers at all that I’ve seen.
This is one of the best videos I’ve seen on modality and mainly because you chose only one composition to show the changes. So helpful to see the practical use and hear the changes in real time
The best and clearest explanation of modal colors. Thank you
There are many RUclips videos about modes but none of them demonstrate it as clear as this. I think what did the trick for me was that you played the SAME composition in all modes. Very effective demonstration. Another good video. 🎉
This is the most helpful explanation of modes I've seen.
That first page with all six scales positioned in descending order of brightness (mood) is a great way to convey this. It's hard to decide if these videos are more educational or entertaining. Thank you.
I never appreciated the power of the modes until I watched this. Brilliant. Thanks.
Wow! I have never heard modes explained in such a simple and concise way ❤ Thank you so much for this! You are amazing! Thanks as always 🎉
Great piece of work showing the various modal scales - Thank you!
"Pick a struggle b*tch" is definitely the best thing I've ever heard about Locrian ever 😂 instantly subbed for that
The greatest explanation of the different modes I’ve seen on youtube, thank you 👍
Your examples are the best ! Love the humor too 😅
Humor and beer! Perfect!
Love hearing the composition reconstituted into each mode. Its amazing how much the mood is altered.
Amazing video! I don't think I've ever understood the practical use of modal chords until today. I was taught modal scales by playing all the white keys starting at C for Ionian, moving up to D for Dorian and so forth. Your explanation made way more sense 🤯
Always very practicsl and clear. Many thanks!
Great vid! Even shows how to transpose between the modes when working in midi. Loved the bright/dark sequencing.
Still loving the attitude. Everyone should apply this to life in general. And, as usual, a good informative video.
Your way of learning the modes is what works for me as well. Thanks for this video!
Love the clear explanation. This video is helpful to me (and fun)!
Thank you for your service
The best RUclips music channel is back ! ❤
The orchestation from time 10.20 for the original is so beautiful to hear, I was rewinding it again and again
Thank you @AnneKathrinDernComposer , that was so nice🎉
So interesting. What a great teacher Anne-Kathrin is.
Sehr gut näher gebracht, danke, steckt großer Aufwand dahinter, aber deshalb ist es aussagekräftig, danke.
Vielen Dank für dieses sehr hilfreiche Video.
Dies ist für mich der beste Beitrag, in dem ich endlich mal verstanden habe, wie die Modi funktionieren und welche Wirkung dies haben können.
Also nochmals vielen Dank !!!
The best video I've ever seen explaining music modes ❤ I love the way you are explaining music. Your video on harmony making several different harmonies on same melody is one of my main references to watch every other while. Thank you Anne 🌹
Finally an explanation with samples of how to use it, this is a great toolbox to have!
Ah wow "Measure this with your heart" is such a great phrase
Best explanation of modes evah, good humor adds up to MANY coffees.
Thank you, Anne!
I just finished doing a deep dive into this topic. I LOVE hearing the way music can transform by moving it around different scales!
Seriously thank you. You are an amazing teacher.
11:33 😊 Right ? Ha, ha ! So precious !
Great video. As always, right-to-the-point. Reminds me of my lessons when I was a kid with this 80 y.o. German organist who made me “alter” various Bach’s preludes to different modes…This approach is precisely what should be studied by all aspiring media composers. You could have actually used your own “The Jade Pendant” main theme (Peony, Peony’s Dance, The Restaurant) as an illustration of modal interchange. Then move on to “The Thief” as an illustration of the same theme in different bearbeitung…. Great strings timber BTW.
The video is an extreme pleasure to watch, and I learned a lot. Thank you!
Thank you for the helpful information and support! Keep it up and well done!👍🙏
AKD, kudos for raising modality as a topic of conversation.
The Gregorian Modes you present are a wonderful starting point to some incredible sounds, colours [correct spelling in my part of the world], moods, and musical characters. Each is wonderfully unique. Organising them light to dark is also a practical solution when we are still learning them, eventually that categorization is internalized and it becomes part of our writing language.
I'm sure I'm 'preaching to the choir' in saying that the Gregorian Modes are the first in a collection of mode sets that can/should be explored by anyone looking to score film/tv/games music.
Case in point, the Melodic Minor Modes have been well plundered in association with 'Space' and the SciFi Genre, as well as other genres. C D E F G Ab Bb C [1 2 3 4 5 b6 b7 1] (Melodic Minor Mode 5) is imprinted on all our brains thanks to John Williams. See the transition to underscore from the opening credits of 'Star Wars'.
A little more obscure but astutely used by Tom Howe and Harry Gregson-Williams are the Harmonic Minor Modes in 'Whiskey Cavalier'. The Harmonic Minor Modes got an incredible workout in that show, but that's not the only clever bit of modal writing going on. Worthy of mention is how the Harmonic Minor modes are associated to the 'spy' plot points, and Gregorian modes (the ones you've presented in this video) are associated the 'relationship' plot points. Thank you Mr Howe and Mr Gregson-Williams for raising the bar for all of us.
For the sake of it, try taking Super Locrian bb7 (Harmonic Minor Mode 7) for a spin and enjoy the spy tension. C Db Eb Fb Gb Ab Bbb C [1 b2 b3 b4 b5 b6 bb7 1]
Much to explore and enjoy.
wow - you give us always new perspectives to hear and to do harmonics. And new ways to forget the professor's stuff 🙂
After receiving the midi files, I'm sorry I didn't pay for a double shot of coffee. For me, a better way of thinking of the modes. The accompanying PDF file, was also very informative. Thank you for your work.
I love parallel octaves, and fifths, and fourths, and everything that sounds cool to our ears!!! So thanks Anne, and to hell with the snobs!!!
I love watching you videos and I always learn a lot from them. It's also the first time I can see you that upset and I hope it's not because you received a lot of bad mood from viewers lately. If so, I will try to make you ignore them by repeating how much I appreciate what you do with your channel 🤩
Thanks Anne-Kathrin - very helpful to see modes from a compositional perspective!!
Thanks for making this much more clear, and for the entertainment!
Love your videos. Smart, cheeky, funny, and such an entertaining way to learn. Your charm and wit is a winning combo. Simple, unassuming, and a joy to watch. Thank you and my best wishes for your bright career...
Never thought to write a melody and then change the notes and harmony to make it a new mode like this - would instantly cough up sad B sections and other treatments of a theme for a movie. Very cool!
Thank you very much formaking this video. I found that a much more useful and intuitive way of seeing what notes are in the particular modal scales; and also what we're trying to achieve by choosing one over the other - the brightness/darkness ranking. Great, thank you! My brain liked your way of explaining that subject.
Once again, an excellent video with very expressive examples, thank you very much for your work. We are very grateful to share your knowledge with us 🙂
Awesome tutorial, going to practice now. Really!! 🎹
I found you a long time ago, but I'm a slow commenter. I now comment on all your videos. Thanks for a very inspiring way of dealing with things. I'm Finnish and my English isn't perfect, so your clear way of speaking is like beautiful music to me! Success in your career, you deserve it!👍👍🥰🥰
Excellent demonstration - thanks!
Great video here!!! I'm with you in stating that I absolutely HATE the videos where they teach modes using the white keys only and moving up one interval at a time. Super annoying. Thank you for this video. Helps me as a teacher myself to make sure I giving real world examples with my modal lessons.
Awesome stuff as usual.
Love your explanation of modes all based on a tonic of C. One of my professors demonstrated modes exactly the same way, and it was (oddly) revelatory to my 19 year old brain at the time.
The explanation of modes as all in the key of C major is helpful for certain instrumentalists to understand fingering and to understand how the modes relate to each other, but I agree with you that it doesn't help enough with understanding how the modes SOUND.
Thanks as always for sharing your knowledge.
Love your breakdown and choice of words. Hilarious. Thank you for being real.
WOW, thank you Anne-Kathrin. Excellent video! and dang now I have to watch E.T.!
Thanks for this video. I watched many different videos of modality. But this is simple and nice. Thanks
Thanks for your videos. Glad to see you back, Ann ❤
A really effective way to explain modality. You got me thinking about harmony changes and substitutions in a different way. I fully agree. .don't make music academic, use your heart. (ears/soul)
Welcome back. Its been a stretch. Congratulations on all your important musical work.
I truly enjoy your videos and I love how you explain it all. After seeing your video I started to try it out in my music and it’s super cool 😎. Thanks Anne for sharing such wonderful content and your love for music with is all ❤❤❤
Thank you kindly for a really clear and demonstrative treatment of modes.
Thank you very much! As a hobby composer, I only heard about modes in the way you talked about in the beginning, playing all the white keys c-c, d-d etc. But your video and the orchestration example really helped me understand it now. Greetings from Switzerland!
This is the most cristal clear practical-explanation of #Modes. Danke!
By far the best and most practical explanation of modes I’ve watched. To actually hear the difference within a familiar reference framework is brilliant. Thank you for this… in fact, could you possibly make a vid on this parallel 5ths and octaves issue within voice writing and why we’re supposed to avoid.
Great explanation Anne-Kathrin and very interesting to see, how the mood changes instantly with only one different note
MIDI sequencer as a music theory teaching tool is very powerful. I wish someone had explain tonal modes with this angle when I studied them. I started to understand the deal when I was learning improvisation. But to me it was bunch of tricks : There's the leading note being altered or not, the minor scale with what you choose to do with the 6th and the major with what you choose to do with the 4th. Then there's locrian mode which I mistook for the diminished scale for a long time, but I finally got it by composing.
Thanks again.
Wonderful topic, I love writing modally. Learning how to write modally and properly harmonizing definitely requires some practice but is so rewarding. I first learned how to do it in a jazz context and avoiding the pitfalls of letting the harmony go back to the tonal root instead of the modal root.
Great, clear presentation. Thanks!!🎉
That was brilliant to show the difference of the modes using the same piece of music. I've been through advanced theory in college but not displayed the differences musically.❤
Thank you! This was great and well put together demonstration! ✨
Fantastic examples and explanations! I love how you based everything from C. That nees to happen more often with modal teaching
Anne-Kathrin Dern, Thank you very much!
You are so wonderful in so many ways. thanks!
Amazing video on modes, thank you so much!
I find the first way, all the white keys, but altering starting and end points, + playing and listening to each of those scales a helpful way to perceive it, because it’s like getting different perspectives of tonality and harmony, the paradigm shifted with each changing start & end point.
Pure genius teaching!!
When I first heard modes explained as 'shifting white keys', I translated that into "what moves?" so I could better understand it. Thanks for taking that approach here.
Great..!! A friendly way to teach thé uses of thé modes... Besides, in a joyful way. Thank You, Anne Kathin for sharing. Grettings from Chile.
sweet! nice explanation. Just used A Locrian (yes, on purpose) for a short demo piece the other week. cool to FA&FO with sometimes. haha. Again, great video. I always appreciate someone else's way of thinking about things. May not always agree, but then sometimes I find out I'm working my brain harder than I need to. So thanks!
Great presentation, thank you!
Thank you for this video. It took me years to figure the modes out because most of the books I studied from make you compare the mode with the parent scale (I studied this stuff in Italian, so I don't know the correct term in English). And I never understood what was so magic about the modes because C Ionian or D Dorian, it's still the same notes. Until one day I decided to compare C Ionian with another parallel mode and cleared one thing. But still it still felt like I was playing a Bb Major scale and not a C Dorian scale.
Then I tried to "force" some music across the different modes (like you did here with Davy Jones' Theme) and everything was clearer.
I should go back and do the same exercise with the harmonic and melodic minor and their relative modes.
Thanks for the video, Anne! 🔥
Great expanation. Thank you!
Thank you for this it's very easy to understand from my point of view anyway...
HAAAAAHAHAHAHA!!! 2 fun knee!!! Yes Modality!!! so important !!! THANK YOU!!!
Thanks Anne, love your videos
Thank you! And for the record I always enjoy your charming self. You make me laugh and I can’t truthfully remember a university music professor who did. So I’ll be back.
This is an amazing video, it must have taken ages to create the examples. Thank you so much!
The way I learned modes is by having pedal tone of the root of the major scale. So in case of C major, keep droning C note, and then to play dorian, you just go up the scale. That's when I actually heard what each interval and note in the mode does to it and what kind of feel it evokes. My brain needed context and reference of a baseline to know what changed. So if anyone struggles even with the approach Anne shown, try doing what's shes doing, but drone the C note at the octave lower and play the mode up and down.
This is great. Thanks for the explanation and examples. ( I learned about this in collge but their explanations never really made sense. These absolutely do make sense). Thanks for continuing to make these videos.
Legend! Thank for the video ❤
"Go practice" at the end is epic 😅
Thank for your teaching 🎉🎉 great 👍🏻
Excellent! AKD is excellent. Simple, practical.
And fun.
very, very, very informative !!!!!
Good, that your'e back on making videos!
Excellent Explanations Anne!
Fantastic!
Great video and examples! Thanks for sharing!
"That's Modalism, Patrick!"
Thanks for another awesome video, AKD!
I fn love those videos. Keep em coming please.
That you for doing this video. 🎉
Modes are referred to (you could also say 'attached to') a specific note (usually a bass note) and the notes can be played as a scale up and down or forming phrases, where the player would jump across the built in interval structure. Also the modal bass note can be an interval (so called "characteristic" interval for that mode but can be a simple "fifth") or even a triad (chord, usually structured from the said bass note as a modal root note). Scales are just the modes but no harmony (bass note is needed) and the notes go up or down consecutively as an exercise.
Thanks for sharing! Here's a comment for the algorithm.
I literally ROFLed on the parallel 5th/octvs thingy! hahahahaha!