Are we talking church modes here? I don't know that there's a specific "mode" for that. If it were natural minor I think you're thinking of something like a hypo-lydian mode (I think; it's been a long time since I've had to think modally).
There is however a mode that roughly corresponds to what you're referring. It's common in Jerry Goldsmith's music (and Bartok; don't even get me started on how much I love his music!) which is called a double harmonic minor scale (e, f, g#, a, b, c, d[#], e; think J.G.'s love theme from The Mummy and you've pretty much got it).
Is this the sort of thing you're thinking of? It's an extremely cool scale used in a lot of eastern European, middle Eastern and north African indigenous musics.
Ah theory. It brings a tear of nostalgia to my eye (sniff, sniff).
Yeah, I think so. At any rate it's damn cool. With regards to Mr. Goldsmith, that was one of the hallmarks of his thematic writing was that there was this flat-2 element all over his scores (particularly decending to tonic) that I think probably would have been reminiscent of growing up hearing a lot of temple cantoring (if that is indeed the case).
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Are we talking church modes here? I don't know that there's a specific "mode" for that. If it were natural minor I think you're thinking of something like a hypo-lydian mode (I think; it's been a long time since I've had to think modally).
There is however a mode that roughly corresponds to what you're referring. It's common in Jerry Goldsmith's music (and Bartok; don't even get me started on how much I love his music!) which is called a double harmonic minor scale (e, f, g#, a, b, c, d[#], e; think J.G.'s love theme from The Mummy and you've pretty much got it).
Is this the sort of thing you're thinking of? It's an extremely cool scale used in a lot of eastern European, middle Eastern and north African indigenous musics.
Ah theory. It brings a tear of nostalgia to my eye (sniff, sniff).
Same as Hava Nagila, isn't it?
Yeah, I think so. At any rate it's damn cool. With regards to Mr. Goldsmith, that was one of the hallmarks of his thematic writing was that there was this flat-2 element all over his scores (particularly decending to tonic) that I think probably would have been reminiscent of growing up hearing a lot of temple cantoring (if that is indeed the case).
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