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Berklee Modal Harmony

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Kyton Ofticial
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142 views24 pages

Berklee Modal Harmony

Uploaded by

Kyton Ofticial
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el DODO CHARACTERISTIC PITCHES/HARMONI CADENCE! 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 jonian 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 fonian mode. ‘The following reviews the basic modes with a comparison of T, SD,D function and quality: mal or Imaj7 Corian: primary CF) function TY Mes eat inser uma) Gn U- or? . D dorian: substitute @) tunction Toa se 4 (minor evaliy) Tor BLT Epiuygien: = eubettute (P)tunetion aoa as eT 4 (rinor Gaalty) maj or IVmajz ———3 in = primary @@) uncon Sy kN 8 BFF (major quality) Vraj or V7 G mixolydian fi primary(B)function oy fea 5 6 Fa (major qualty) Aaeolian: substitute (7) function (minor quality) vir orvi-7ts) B borin: = ambiguous foncion te fs 4's fe ty (diminished quality) 68 — HARMONY 4 - Part 4 a Characteristic Pitch —ionien Characteristic Pitch — aeolian Characteristic Iydian rmixolydian dorian Phrygian ‘Although this llustration shows an orientation to jonian as the primary tonic scale, specific chara geet each mode to _stand alone as a primary ton: sal “Giminished triad on the first sale degree Is too un work as a tonic chord.) A look at the various chara¢ + each mode has its own unique placement of the t 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, loerian is the exception). Each of these modes share a major or minor quality. 4 closer examina- tion should reveal a specific characteristic pitch that further sets them apart. To determine each mode's character noe, the following comparl-_ son will be based on ona parallel tonality. The ionian 1 scale will be the model “For the major qualities, The aeolian scale will be the model for the minor “qualities. The ionian characteristic pitch is the 4th scale degree. The aeolian Characteristic pitch is the "6 scale degree. Both of these character notes define the nontonic pitch in each seale@ontonic = cadena) MAJOR MODES MINOR MODES: lonian: character note = 4 aeolian: character note ———————— Iydian: character note ='4. Ine += TF HARMONY 4- Part 4— 69 odal Harmony Each mode's character note shows its location on one of the two ¥ steps. Because | of the strong tonal gravity of the 4 step, the character note will bear a direct connection i to the modes cadential functions. 4 ‘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 5th above I. The following illustrates by comparison: | ‘The th 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 interoal thereby identifying the resolu- tion tendency of the two opposing ¥ 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: (tritone available) (ritone split) Clycian —o.n = te Gionian vseu Fionian, Cmixolydian —c.n,='7 L-sepow sofeuw—! Caeolian—e.n. Sy # onian Cdorian—o.n, = 6 (—gepows sous 1 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: 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|-(C)or €/O)- 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 oftheir tritone content and strong pull to the relative ionian Ichord. 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 5th to.a cadence chord or other diatonic chord. (Retrograde Sths are also effective in this category). (Note that the -7('5) 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'S 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

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