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<p>[QUOTE=&quot;gsimonel, post: 3061021, member: 82549&quot;]An interesting bit of musical trivia about Lokris:</p><p><br /></p><p>Greek music was based on modes, sort of like the scales we use today but without sharps or flats. If you play a C Major scale on a piano, you go from one C note to the next one, playing just the white keys. But if you start on any other scale note and go to its partner an octave away playing only the white keys in between, you are playing a mode. This is more or less the structure on which music was based in ancient Greece (although the tuning was slightly different).</p><p><br /></p><p>If you play from D to D, using only white keys, you are playing a Dorian mode. That is, if you start your song on a D and it resolves to a D at the end, (even though you are changing the order of the other notes), your song is in Dorian mode. E to E is Phrygian mode. F to F is Lydian, G to G, mixolydian, A to A, Aeolian, and--wait for it--B to B, Lokrian (a.k.a. Locrian).</p><p><br /></p><p>Each mode generates its own distinct mood, and so the songs in a specific mode all tended to be about similar topics or ideas. The problem is that in Lokrian mode weird things happen. There&#039;s no perfect fifth from your starting point, and the resolution is very unsettling. If you play the notes B, C, D, E, F, G, A, B on any instrument (no accidentals) you hear how weird it sounds. When you come to that final B, it feels like you need to keep going, like you&#039;ve just left us hanging by stopping there; the song never properly resolves.</p><p><br /></p><p>And for this reason, there were periods in Greek history when playing a song in Lokrian mode was a crime, punishable by death![/QUOTE]</p><p><br /></p>

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