I'm not sure what Jim is referring to exactly, but generally music played in Dorian modes sounds dark and foreboding generally speaking. The Good, the Bad, and the Ugly finale (including the three-person "truel" scene at the end) has plenty of canonical examples in D minor (really, more specifically, dorian mode in D; ie, simply stay on the white keys only from d to d to play that scale). It's not melodic minor and has that flatted VII, for example. On Wed, Mar 15, 2017 at 8:06 PM, Andy Latto <andy.latto@pobox.com> wrote:
On Tue, Mar 14, 2017 at 11:54 AM, James Propp <jamespropp@gmail.com> wrote:
How did VII-flat - V - I become a cowboy
movie cliche? Does it trace back to actual cowboy music, or is it purely a Hollywood creation? And what are the antecedents in classical music? There may be a fun story here, but how would one search the internet to find it?
I haven't found it, but I think this might come from somewhere in either Rodeo or Billy the Kid: I think Copland shaped our notion of what sounds "American West" in music.
Andy
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