If you know how each mode sounds, the choice will present itself according to the musical context at hand – see Modal Harmony and Functional Harmony. In this case, and if you don’t know from where they are coming, you can make the obvious choice of pairing major modes with major chords and the same with the minor ones.
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Obviously, things can get a little bit more complicated when chords from different tonalities enter the scene. This means that you can use the C major scale to make a melody over all of those chords. Then it should be fine to use the same scale over such chord changes.įor instance, if you have a Am – F – G – C or a vi – IV – V – I chord progression, these chords exist in the tonality of C major – see scales harmonization to know what chords exist in the major scale. That said, each chord may imply a mode by having chord extensions that giveaway the respective mode’s sonority and such chords may be presented in a modulating sequence, creating contrasts, and most likely you will have to follow those chord changes with the respective modes and tonalities.īut you don’t even have to be changing scales all the time as long as the chord succession has chords from the same tonality. It will harder to choose which scale to use if you don’t have a good grasp of the musical context at hand. It would be a pity to not take advantage of sounds, in particular when services delivered by a brand might not always be perceived as perfect by customers and these sounds can help support the customer relationship," concludes Caroline.It is more difficult to figure out what scale we could use over a C major chord that exists in several scales and/or tonalities in C major, F major, G major, F minor harmonic or melodic, G minor melodic, C half-whole diminished, etc. How sound is interpreted can offer a wealth of information to help in the creation of brand names, in particular for brand names that have no 'meaning' in semantic terms. "These studies open the door to new research that has yet to be explored. For slogans, the goal is to create phrases with the most occlusives in order to suggest stronger action. When creating a brand name, the idea is to encourage the use of occlusive consonants independent of the meaning behind the words. To automatically generate positive feelings or to help prevent negative feelings created by conflictual situations, a service or product can use occlusive consonants in the construction of its brand name in order to foster a sense of maintaining control. "The results of these studies demonstrated that when young adults are faced with a loss of control in terms of their interaction with a brand (and therefore a sense of being unsatisfied), they prefer brand names with occlusive consonants instead of constrictive ones because the brand generates a stronger feeling of action that can take back control of the situation and thus reestablish a feeling of personal control." Occlusive consonants: a guiding principle?
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Three studies were carried out in 2018: the first study used a panel of 85 young adults, the second relied upon 105 students, and the third surveyed 123 people in their twenties.
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Thus loss of control can lead someone to act in fields that are not necessarily directly tied to the situation that generated the feeling of loss of control." Increasing the attractiveness of brand namesĬaroline Cuny and Jamel Khenfer, a professor and researcher at Zayed University, College of Business (United Arab Emirates), started out by working on the following hypothesis: If a loss of personal control generates a preference for action, such situations should increase the attractiveness of brand names that inspire action. "At the same time, social and cognitive psychology demonstrates that when an individual loses control due to an event, compensation strategies are activated in order to enable the person to act in the environment, even if the situation is in fact uncontrollable. The effort made by the mouth to pronounce the name would therefore suggest action rather than passivity," explains Caroline Cuny,, a professor and researcher of cognitive psychology at Grenoble Ecole de Management. As a result, we hypothesized that the pronunciation of words with occlusive consonants such as b, d, p and t (as opposed to constrictive consonants like f, l, s and v) would suggest motor action due to the articulatory movement required to pronounce these letters. "Our starting hypothesis is that motor actions are associated with automatic mental representations that are often unconscious.