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 7th) 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 6th (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.
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