SSNS SSeS ONAL TTS Until now, the focus has been on examining contemporary usage of the ‘major key and various minor key systems. From a representative scale standpoint, the discussion has been limited to the ionian mode and its embellishments, and the aeolian mode with its variable 6th and 7th degrees, as tonic systems. ‘The focus now shifts to exploring the use of other diatonic scales as. tonic systems. Although any scale or mode can be used in this way, the ‘most common are the ones derived from displacing the ionian mode. ‘The following reviews the basic modes witha comparison of T,SD,D function and quality: {maj or Imaj7 primary (P) function PE se rey merely) Cionian: I- or Ik7 D dorian: substitute GD) function Twas 6 4 (minor @uality) Wor Ik? Ephrygian: substitute (P) function + oa ee a 4 (minor quality) 1Vmaj or IVmaj7 F lydi primary GB tuneson (major quality) Vmaj ot V7 —a G mixolyaian primary ©) function 1284 5 67 4 (major quality) Ascot: substitute @) funtion (rinor gualy) B loctian: ‘ambiguous function * (diminished quality) 68 — HARMONY 4 - Part 4 aCharacteristic Pitch —ionian Characteristic Pitch — aeolian rmixolydian dorian phrygian ‘Although this illustration shows an orientation to ionian as the primary tonic scale, specific characteristics emerge that will enable each mode to “stand alone as a primary tonic sale. (The exception to this i€Toc “Giminished triad on the first scale degree is too unstable to effectively ‘work as a tonic chord.) A lookat the various characteristics reveals that ‘each mode has its own unique placement of the % steps relative to the first scale degree. « the triad built on each mode's first degree has a perfect Sth above its root (locrian is the exception). + each mode has an overall quality that is either major or minor (again, locrian is the exception). Each of these modes share a major or minor quality. A closer examina- tion should reveal a specific characteristic pitch that further sets them apart. To determine each mode's character note, the following compari-, son will be based on a paral tonality. “For the major qualities. The aeolian scale will be the model forthe minor "Guallies, The ionian characteristic ptahis the Sth scale degree. The aeolian Characteristic pitch i the 6 scale degree. Both of these character notes define the nontonic pitch in each scale Ggntonic = cadena, MAJOR MODES. MINOR MODES fonian: character note = 4 ‘aeolian: character note =' Iydian: character note = 44 dorian: character note = 6 Imai ik Ss SS == i ‘mixolydian: character note = "7 phrygian: character note ='2 Imai I = =a & ss = > = HARMONY 4- Part 4— 69dal Harmony ' Each mode’s character note shows its location on one of the two ¥ steps. Because j of the strong tonal gravity of the * step, the ' character note will bear a direct connection } to the modes cadential functions. ' ‘The main harmonic difference between major/minor key and modal systems has to do with the way the diatonic tritone in each system is con- trolled. The dominant cadence is defined by the diatonic tritone located between the 4th and 7th scale degrees. The tritone is attached to a root function a perfect Sth above I. The following illustrates by comparison: | MAJOR KEY MINOR KEY MODAL, The 4th degree character ‘The raised 7th degree of note descending by 4 step, harmonic (and melodic) coupled with the leading minor creates the same tone ascending by step, dominant cadence as results in dominant cadence. major key. — HARMONY 4- Part 4‘Modal Harmony ‘The cadential strength of the tritone in major key and minor key systems relies on its position as a harmonic intercal thereby identifying the resolu- tion tendency of the two opposing ¥4 steps (4 to 3 and 7 to 1). Dorian, phrygian, lydian, mixolydian, and aeolian tonics contain the tritone of a relative ionian scale. Care must be taken to avoid using the tritone harmonically, while still relying on the ¥ step instability for the appropriate modal cadence. The goal is to avoid inadvertently cadencing to relative ionian. This is achieved by “splitting the tritone”. The result is that only one of the two ¥ steps are now available, depending on which one defines the modal characteristic pitch. ‘The next example compares the modal characteristic pitch to its relative ionian location (c.n. = character note): RELATIVE IONIAN: TONIC MODE: (titone available) (tritone spit) Clydian—e.n. = 44 G ionian zeeU jot L > - a sone! . f aazEanneannnanasssananar Si tixv SeeeaL 5 =" Lsepour sofew —! E ionian, Caeolian-c, = ey B ionian Cdorian~e.n. A ionian L_____sepow sous HARMONY 4 - Part 4— 71Modal Harmony 72 — HARMONY 4 - Part 4 “The definitions and abbreviations listed below apply to all modal contexts that use root motion generated progressions based on tertian (chords in thirds) or tertian-derived voicings: [TONIC FUNCTION)-C)- In modal systems, there are no substitutes for the tonic I chord. Therefore, only the I chord will be regarded as tonic. The I chord is often used asa triad. [CADENCE CHORDS|-(6)or G/0- Any chord that uses the characteris- tic pitch as a root, 5th, 3rd, or 7th and is ‘not based on the diminished triad or the -7(¢5) chord has a cadential function. In all cases, except mixolydian, the dominant 7th chord will be considered a conditional cadence chord and will be treated on an individual basis. Other chord types will also fall into the conditional cadence category. Generally, the closer the character note is to the root function, the stronger the cadence. The order listed above, based on the harmonic series, is considered the strongest-to-weakest location of the characteristic pitch. With a few exceptions, root movement to tonic is by step. Stepwise root movement is a primary characteristic of modal music. [AVOID CHORDS}-(A)- All diminished triads and -7(5) chords are avoided because of their tritone content and strong pull to the relative ionian I chord. Again, dominant 7th’s will be considered on an indi- vidual basis. Any remaining chord that does not fit into the preceding categories is treated as a diatonic linking chord and will usually move by step or by Sth to a cadence chord or other diatonic chord. (Retrograde 5ths are also effective in this category). (Note that the -7() chord is relegated once again to a position removed from the norm. This also applies to the inability of locrian to function as ‘a modal tonic. The character note of the locrian scale is the*5 scale degree. Not only would the tonic ®)I-7('5) be an avoided @) chord, but it would also be a cadence © chord; it would simultaneously fit the description for all the above definitions, a practical impossibility! The only situation that defies this impossibility is the I7 chord from tonic ‘mixolydian. Even then, itsounds more like a tonic blues function.)Modal Harmony PEE ‘Modal compositions are much simpler in form, melodic and harmonic construction than nonmodal compositions. Typically: « there is more I chord function than anything else. + cadence chords are usually located on weak stress points moving directly to tonic. « other diatonic functions are used sparingly to break up the predictability of a progression. ‘These eight measure phrases show different common distributions of tonic (T) and cadential (C) functions: HARMONY 4 - Part 4— 73Modal Harmony Iydian 74 — HARMONY 4 - Part 4 TEs * Tonic lydian (44 character note): triads Qa © ® © Imaj7_ 17 10-7 ‘tv-7¢5) Vmaj7 VI-7 VI-7 7th chords: = o0@ O@ © ‘The | triad is more common although Imaj7 is effective especially when the #11 is used. [XI or 117] The I triad is a stronger cadential function than II7. II7 as a conditional cadence chord must be treated with care. 117/'7, creating a tonic pedal effect, is one option. Avoid II7 to II-, II7 to V or any move- ment that suggests a relative ionian pattern. [HT- or HI-7] Either is effective as a stepwise approach to the II chord. II- may be preceded by I, II, VI, or VII. Avoid overuse. tiv or HIV-7 (5) | Treat this function as an avoid chord. Although the characteristic pitch is in the strongest position as a root function, the diminished quality suggests relative ionian resolution. [Wor Vmal7] As a triad, it functions as a diatonic linking chord moving up by step to VI-. Vmaj7 places the characteristic pitch in the weakest position as the 7th of the chord, thereby creating a conditional cadence chord. Careful positioning (weak stress) and voice leading is required if used as a cadence chord. This isthe I chord in relative ionian. (WEF o VIE7| Either is effective as a stepwise link to the VII- chord. It may be preceded by J, VII-, V or II-. Avoid overuse. (UIE or VIF] ‘The character note as the 5th of the chord along with the Position of the root a ¥ step below I puts it into a strong cadential Position. VI- is also effective as a part of an indirect cadential approach to1(VIIL- to Il to lor II to VI- tol).Modal Harmony ‘SUMMARY OF TONIC LYDIAN CADENCE CHORDS {4 character note triads: root x sth va ord 0 mth Tonic lydian harmonic patterns: I VI Vivi a a pod ao me a me 4) Tonic pedal point is widely used in modal harmony to further solidify the tonal center as well as help define the intended modal quality. The next example illustrates this: I 1 TP. % 5) (This type of chord symbol will be explored further in part 5.) This example has further implications in creating the conditions for the use of fonic modal voicing progresions. This will be covered later in this chapter. HARMONY 4 - Part 4— 75Modal Harmony * Tonic mixolydian mbotydan a; ——— yg J 2945 67 1 Tote om weve ww triads: © ® © © 17 1-7 01-7¢5) IVmaj? V-7 VL-7 Viimaj 7th chords: “Oo ® © © The triad is more common than the 7th chord. 17 places the character note on a tonic function. This works in a modal blues context although it is common to find I7(sus4) as a way to eliminate the tritone. 17 to IV should be avoided. IV is the I chord in the relative ionian. ‘The II- triad can work as an upper extension of the'VIL ‘cadence chord. It may be preceded by VI-. Avoid overuse. [HI or 11-75) Treat this function as an avoid chord. Although the'7 characteristic pitch is in a strong position as the Sth, the diminished = ‘quality suggests relative ionian resolution. ‘The IV triad is a strong stepwise link to the V- cadence chord, especially when preceded by I. IVmaj? will also work. In either case, care should be taken in regard to its placement and emphasis. Avoid overuse. [Vor V-7} The character note as the'3rd along with the dominant root a perfect Sth above tonic places this in a strong cadential position. The root movement down a perfect 5th mimics dominant resolution without the tritone. This is one of the few modal cadence chords not based on root motion of a step to I. However, care must be used to avoid the sound of in the relative ionian, Either is effective as a stepwise link between V- and ‘VII. Avoid overuse. VII or Viimai7] The character note as a root function a step below I Places this in the strongest cadential position. The VII triad is more ~ common than the "Vilma, especially in Pop/rock contexts, 76 — HARMONY 4 - Part 4ry Modal Harmony [SUMMARY OF TONIC MIXOLYDIAN CADENCE CHORDS by character note as: triads: 7th chords: root Wo bvaimaj7 sth x x rd ve v7 Th x ‘Tonic mixolydian harmonic patterns: 3 v 2) 3) 4) 5) ‘The student can find application of these basic modal principles in an ionian modal context as well. HARMONY 4 Part 4—77 rere}Modal Harmony 78 — HARMONY 4 - Part 4 INSETS * Tonic dorian (6 character note): ‘u_a_v-_ve hn ee Se o0®© © © ¥7_ue7hmajz 1v7_v-7 vi-7¢s) 'vumaj7 7th chords: 0G @&@ ©@ The I- triad is common, but I-7 is also used, especially with the characteristic pitch as a tension 13 function. The characteristic pitch as the 5th along with the root a step above I puts this in a strong cadential position. The I- triad is more ‘common but the II-7 does not cause problems. [Il or maj? ] The "i triad is a common chord form. Itis used as a stepwise link to either IV or IL-7. "I can also be preceded by I-. Avoid overuse. [TV oF IV7) The characteristic pitch as the 3rd puts it in a fairly strong cadential position. The IV7 as a conditional cadence chord must be treated with care. The safest resolution is like any other IV7 blues function (preceded by Iand resolving directly back to 1). Avoid resolu- tion to VIL. This is the relative ionian V7 to I pattern. This function works as a stepwise approach to IV, either as a ‘triad or 7th chord. V- may be preceded by I-. Avoid overuse. [Vi° or VI-7(5)] Treat this function as an avoid chord. Although the characteristic pitch is in the strongest position as a root function, the diminished quality suggests relative ionian resolution. FIT or 'Viimaj7] The VII triad has an implied cadential function because ofits position a whole step below I. The character note as the 7th puls it in the weakest cadential position. As a conditional cadence. ‘chord, it must be used carefully, because iti the relative ionian I chord. >Modal Harmony SUMMARY OF TONIC DORIAN CADENCE CHORDS “Gcharacter note as: triads: 7th chords: root x x sth 1 n7 3rd Vv 17 7th bvnimej7 ‘Tonic dorian harmonic patterns: AY, on % Bass ostinato patterns, especially those on a tonic pedal, are common in modal contexts. This will be expanded further in the tonic modal voicing section. HARMONY 4- Part 4—79 Ne eeModal Harmony Phrygian © Tonic phrygian (2 character note); Ts 4 5 te en mow. ve we triads: 0 © ® © 1-7 *timaj7'a7 1-7 v-7¢5)*Vimaiz *yI-7 7th chords: ®O@G ® © ‘The I- is common, but the I-7 is also used. PIT or *iimaj? | The characteristic pitch as a root function a 4 step above the I- chord puts this chord in the strongest cadential position of all the five common modes. The 'Iimaj7 is very common although the I triad is frequently used. Tension {11 also adds to its cadence quality. TIL or 117] The III triad is a common stepwise approach tol. It may be preceded by ‘VI, "Il, IV- or I-. The characteristic pitch as the '7th, along with its root a minor 3rd above I-, makes "III7 as a conditional cadence chord the weakest ofall possible cadential choices. It has a strong tendency to resolve down to'VI which is undesirable in a pure modal context. 'Vimaj7 is the relative ionian I chord. [IV= or V-7] Either IV- or IV-7 is used as a stepwise approach to "TH, as a cycle 5 approach to'VII-, or as an upper extension of "Iimaj. Avoid overuse. [V? or V-7(5)] Treat this function as an avoid chord. Although the character note is in a strong position as the "5th, the diminished quality suggests relative ionian resolution. [VI or Vimaj7] Either form is used as a stepwise approach to/VI-. WI can also move tol, Avoid overuse. PVII- or *VII-7] The characteristic pitch as the 3rd puts it into a relatively strong cadential position. This is supported by the VII root a whole step below I-. 'VII-is an effective alternative to the more common’ to I- phrygian cadence. 80 — HARMONY 4 - Part 4 oe PeModal Harmony ‘SUMMARY OF TONIC PHRYGIAN CADENCE CHORDS socharacternoteas: triads: 7th chords: root br bamai7 5h x x 3rd wo War 7h ‘m7 Tonic phrygian harmonic patterns: HARMONY 4- Part 4— 81‘Modal Harmony ‘acolian 82— HARMONY 4- Part 4 + Tonic aeotian (6 character nO eS gy mw. vf kK triads: o6 © © 17 -7bs)amai7 1V-7 V-7 Vie? FY? Tih chords: 26 © ©@ ‘The triad is common, but I-7 is also used. {IP or I-7 (5)] Treat this function as an avoid chord. Although the 7 h . characteristic pitch i in a strong position as the Sth, the diminished quality suggests relative ionian resolution. Patt or"ilimaj7] Either form is used as a stepwise link between I- and IV-. ‘This chord is the relative ionian I chord, so care should be taken in how it is used. Avoid overuse. [IV oF 1-7] The's character note as the "3rd of this chord puts it ina relatively strong cadential position. It is usually preceded by I-, but may also be preceded by V-,*,'VI, or ‘VII. Either the V- triad or V-7 is used as a stepwise approach to either IV- or VI. V- can also be preceded by I-. Avoid overuse. Pi or Vimaj7 ‘The character note as a root function puts this chord in a strong cadential position. The cadential quality is somewhat weakened by the fact that it resolves up a major Srd to I-. 'VIis usually preceded by 1, "Vilor V-.VI will often move directly to'VII or V-. PYILOAVIZ] The!vit triad functions asa stepwise linking chord between I- and 'VI. Vit may also be preceded by IV-. Like the VII triad in tonic dorian, ithas an implied cadential function because of its roots Position a whole step below -. The character note as the'7th puts “VI in ‘a weak cadential position. As a conditional cadence. taken to avoid resolution to". Thi 'VII7 to I-is thenorm, chord, care must be isis the V7 to I cadence in relative ionian.Modal Harmony vo , UMMARY OF TONIC AEOLIAN CADENCE CHORDS: ‘character note as; triads: Tih chords: root vi Svimaj7 ah x x ard wv v7 ™ ‘vu ‘Tonic aeolian harmonic patterns: ee Watreunay ie PV tmaj7 = IV- I-Ie B&D Bimaj7_A_G-_D-_G- a — = + Wo bv vo RIV IV bev boc Bo Doe roo Ga 4 8) ‘Avoid chord patterns in basic modal contexts that suggest cadential resolu- tion in relative ionian, especially: UL and HARMONY 4 - Part 4— 8384— HARMONY 4- Part 4 “Modal melodies, like modal harmony, are very simple in their construc- tion. The principles listed below apply to most modal situations regardless of style. «* Modal melodies are diatonic to the chosen mode with very little, if any, chromatic embellishment. + Modal melodies are based on simple rhythmic ideas. ‘* Sequential repetition is common, especially in intervals of 4ths. ‘+ Emphasis is on the chord tones of the I chord (triad) and on the character note. The character note typically resolves by step. + Character note emphasis can be based on any or all of the following: 1) placement (high or low point) 2) duration (J or longer) 3) understatement (occurring only once or twice within an 8 ‘measure section) ‘* Care should be taken to avoid overusing the character note. * The exposed melodic tritone should avoid resolution that implies relative ionian. * Stepwise melodic patterns with a narrow melodic compass are the norm. Arpeggios are found on the I chord and cadence chords. * Melodic cadences are typically found on scale degrees 1, 5, or 3, and are usually of long duration (© or longer). * Ambiguity may be achieved by avoiding the 3rd scale degree and/or the character note. * Ifthe melody is ambiguous, then the harmony is responsible for defining the specific quality and character of the mode and vice-versa. * Modal interchange is frequently used,Development of Modal melody Modal Harmony ‘The following procedure is but one of several ways to organize a melodic idea. 1) Determine the style (jazz, latin, pop, etcetera). 2) Determine the form (AB, ABA, AAB, etcetera). 3) Determine the tonality and mode. 4) Using whole note durations (or any generic rhythmic duration), create a melodic sketch over 4 or 8 measures. The sketch should emphasize the tonic I chord and the character note. 5) Develop the melodic rhythm over the sketch. 6) Embellish the sketch using common melodic development devices * such as: * passing tones * auxiliary tones + unprepared approach * chromatic approach ‘+ indirect approach ‘* arpeggios ‘+ augmentation + diminution + retrograde + inversion + retrograde inversion * sequence 7) Harmonize the phrase. Below is an 8 measure sketch in D dorian or D mixolydian: (this sketch is ambiguous because the 3rd of the scale is not present. In the final melodic development, the 3rd will be Present.) HARMONY 4 - Part 4— 85‘Modal Harmony 86 — HARMONY 4- Part 4 Here is the sketch with the melodic rhythm superimposed: (med. jazz fee!) Next, using melodic rhythm and embellishment devices, the final ‘melodic shape takes place: (med, jazz feel) (The specific devices used are arpeggios, unprepared approach, and sequence.) ‘The final stage is harmonization: (med. jaz feel) Ly a7 D7 EvModal Harmony ‘Wherever the melody allows, modal interchange possibilities can be used: (med. jazz fee!) 17 himai7 17 hmaj7 D7 Bmai7 E7 Fmaj7 07 Samal? m7 Wimaj7 E7 Fmaj7 E7 Bhmaj7 In the example above, the melody in the 2nd and 8th measures has pitches that are also diatonic to parallel aeolian. By using a cadence chord from parallel aeolian (to increase harmonic rhythm and the level of melodic tension), a “tandem cadence” between the aeolian 'Vimaj7 and dorian IL-7 is created. “Tandem cadences” are common in contempo- rary jazz compositions. Also notice how the secondary resolution of IL-7 to ‘t1Imaj7 helps to continue the forward motion to the conclusion of the 8 measure phrase. ‘The quality or character of a mode can be ambiguous by avoiding the rd scale degree, the character note, or both: ‘The tonality is clearly C, but the missing 3rd scale degree allows the harmonization to be derived from either C dorian or C mixolydian: Céotian: w o Fr OR C mixolyaian: va W7(sus4) 17 V-7 c G7 C7(sus4) 07-7 HARMONY 4 - Part 4 — 8788 — HARMONY 4-Part 4 Here is an extreme example of major to minor modal interchange: Imai *umaj7 fe irr aa 1 v7 v7 I Fz a7 e ‘An analysis of the preceding example reveals at least five different modal sources: Imai bamaj7 17 oer maiz Bmal7 a7 az ra ft 5 by % yan——— ephygian 1 dortan——J eh phrygian 1 va wa 1 es SFT B7 e iows8 hm s fw 5 5 8 mbotysan———_}hagotan J phonian? J Byeten? ——I 8 muoyesan? —!‘Modal Harmony ‘ONIC MODAL VOICINGS| ‘Another harmonic device used in modal music is tonic modal voicings. Many modal tunes are not based on root motion generated progressions. ‘The only function present is the I chord which is completely static. Consequently, there is no harmonic movement. Here is an example of a typical modal phrase as it would appear in lead sheet form: (atin) -(dorian) ‘The melody in this case is responsible for defining the quality and charac- ter of the mode as well as the tonal center and overall musical interest. The arranger or comping instrument does not have much to go on. One solution would be to simply use inversions of the D- chord. However, the tertian nature of the inversions would be limiting in exposing the entire mode without running the risk of creating the expectation of resolving into relative ionian. Also, the instability of the tritone would be supported by the surrounding harmonic intervals of 3rds and 6ths. A more effective solution is to use the entire mode voiced in diatonic ‘ths (quartal harmony). The tritone is neutralized when itis stacked ‘among other 4ths. Many of the post-bop arrangers, composers, pianists, and guitarists have established this quartal voicing approach as a fundamental part of contemporary modal jazz. Here is the D dorian mode voiced in diatonic 4ths using four voices: -ox(3) D- (dorian) ; 2h, — HARMONY 4 - Part 4— 89‘Modal Harmony 90 —HARMONY 4-Part 4 icings in 4ths, a tonic pedal point ‘chord root creates the effect of ual to: iguous nature of voi .m emphasizing the I inversion of the I chord. Each structure is eq] be preceded or followed by any other is created when in fact there is only Because of the ambit or ostinato bass patte each voicing being an the other (pandiatonic) and may structure. An illusion of progression. some fragment of the I chord at any particular point Sunspots horn piano Tonic modal voicings wil ‘ings will serve any relative the ‘mode by si : bass root note to another diatonic pitch. by simply changing T-(dorian) 1. (phrygi ) —-T-(phrygian) I (lydian) I (mixolydian) I- (aeolian) D 2 = F a _ oracle "evar noel] Wetaace noel] “lenaacer tel character ot a =‘Modal Harmony ‘Although there are examples of compositions that can be considered “purely modal”, many tunes exist that are a combination of modal and nonmodal materials. These are considered the norm in most contemporary contexts. How Can They Forget (Latin) - (dorian) (dorian) (Swing) O'mai7 D7 «G7 maj 3 + a Await, arts) orto) mar Aai7 Omar O7t Modal key signatures can be established by using either of the following applications: + Open key signature: No formal key signature is used to identify the mode. All necessary accidentals are written as needed. (Gee the above example) * Relative ionian key signature: Determine the key signature by relating the mode or modes to the relative ionian. For example, C phrygian = 4 flats (A? ionian). The name of the mode should be ‘written to specify which mode the key signature is establishing. HARMONY 4 - Part 4 — 91