I must admit my email stopped informing me that this post was being posted to and I didn't want to drag it up again as I am unsure of my own knowledge, but I had some thoughts about the posts by Fretsource.
It seemed to me, and again I may be incorrect here, that we have a situation where something I described, is seen as incorrect in music theory, however in music practice is correct.
Modes are chosen based on Key Signature.
This is what I got earlier from a few posts. Fair enough. In music theory that may be the way that it works.
But in music theory you can have B# and C##.
In music practically, you don't have B# or C##
In music theory is the Mode chosen by the Key Signature but in practice you can be playing several different modes at different times over a single piece, depending on the chords you are playing and the notes that you play in relation to that chord.
I think of it like this because if you play just 3 notes. Depending on the root, those 3 notes could come from any number of Scales or Modes.
Until you know what the root is, you can't know what scale those 3 notes come from. There may be a few scales/modes that are soo odd for instance a scale producing C## where only a few scales/modes could possibly produce those notes, but generally speaking I think this holds true.
I don't now how right that is, but it is how I thought about it practically.
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