Seven scales from one set of notes, reduced to the single note that distinguishes each of them — why a mode collapses back into its parent key unless the harmony holds it, and the pitch-correction setting that quietly destroys one.
Take the seven notes of a major scale, and instead of treating the first as home, treat the second as home. Then the third. Same seven pitches every time, and seven noticeably different-sounding scales — because, as the scales lesson put it, a scale is defined by its pattern of tones and semitones, and moving the starting point moves the pattern.
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