Back to Modes

The chapter "Modal Harmonies" may be somewhat confusing for those who are not completely clear on Modal Scales and Modal Music.  Here, I will try to simplify thing that may help some to enter the amazing world of modal music and modal harmonies.  

Constructing a working modal scale

Modal music is interesting for several reasons:  It gives us a glimpse into the past of the scale development and how basic harmonic construct has taken place and shape over the period of several centuries.

The modal scale that I am going to use is a Dorian mode.  For those who are not familiar with modes, it is essentially a natural D minor that contains B instead of B flat which changes the placement of whole and half steps (which indeed determines the character of any given scale)

To get into the modal “mood” fist play the natural d minor scale several times, up and down.  Now, play the same scale using B instead B flat.  You will notice how the mood of the scale has changed and that the upper tetrachord has attained some brightness and optimism.  You have to allow your ears get used to this new tonal experience.  Play the scale few more times

Harmonizing the scale

Harmonizing the scale should be as straightforward as possible:  

Here are several ways of harmonizing each note of the scale using simple triads : 

scale:    D         E          F          G         A         B          C         D

chords:  Dm       Em       F          G         Am       Em       C         Dm

             Dm       Am       Dm      Em       Am       Em       Am      Dm

             Dm       C         F          Em       Am       G         C         Dm

Note:  chords other than triads can be used (for example major and minor 7^th) however, in order to properly understand the modal principle, the simple triads should be used at this stage. 

The chord B-D-F or any inversion of the same should be avoided because its presence could easily pull us into C major. 

The absence of tensions and resolutions found in major scales (I-IV-V-V) makes modal music softer and more abstract.  The Dorian 6^th (D-B) allows us to construct very powerful two chord progression Dm – G.  Resolution should not follow into C because the progression Dm-G-C presents a “turnaround” or dominant cadence that confirms the key of C.  Instead, it is better to aim for the minor key that will ensure the tonal ambiguity.  Sometimes the tonal ambiguity can be preserved and enhanced by using only root and the fifth instead the whole chord.  Typical ending are VII - I, or II - I, but ending on IV (G - B - D) is also acceptable. 

Here we’re not exactly bound by classical harmony rules and some degree of experimentation is necessary to attain satisfactory results.  However, the care should be exercised in voice leading especially in a four part harmony layout:  No unnecessary leaps and no intervals larger than octave.  Tritone should be avoided for now, although it is possible to use it under certain circumstances and still retain the modal feel. 

The treatment of passing and sustained tones

Passing tones (in relation to main chords) should create acceptable dissonances that can easily be resolved into the third or fifth of the next cord.  Typical sustained tones such as sus2 and sus4 should be properly resolved into nearest consonance (usually on the way down).  Remember that melody should be developed in predetermined manner that ensures fluency and modal integrity. 

Next time more about modal melody development within a given harmonic frame.