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From this question I read that modal cadences are different from tonic cadences.

I'm trying to learn Dorian mode and I noted that in the answer they offer the suggestion of the second chord, first inversion followed by the tonic chord.

In Dorian, you would use ii6(5)-i. (Ex. Em(7)/G-Dm)

My question is. Is this the only modal candence for Dorian?

IE. May I use also the ii without inversions? And is there other type of cadences in Dorian (IE in tonic I know 4 cadences - Perfect, Plagal, Imperfect and Interrupted), is there any similar in modal cadences?

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  • What kind of "modal" music? folk, jazz, or medieval?
    – Michael Curtis
    Commented Apr 27, 2020 at 18:38
  • I was aiming at Celtic.
    – Jack Mariani
    Commented Apr 27, 2020 at 18:45
  • You also have a plagal cadence, from IV to I (G to Dm).
    – tiniuclx
    Commented Apr 27, 2020 at 22:51
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    I’m afraid my answer has been posted before you said I was aiming at Celtic. But I can’t tell what would be different. What we shouldn’t forget is music theory is more opinion based then we would believe. There have been different modes in different times. This means the modes have changed in melodic and harmonic respects. e.g. the sharpened 7th degree wasn’t use in the earliest eras.
    – Albrecht Hügli
    Commented Apr 28, 2020 at 12:25

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Actually I miss a discussion about the statements in the linked question. ii6 - i ... how you are quoting would be a plagal cadence. The authentic cadence is: v-i (am-dm ... and as there was also in times of medieval music already a leading tone in many cases the perfect cadence was i-iv-V-i. (dm-gm-A-dm or ii6 instead of iv.)

Excerpt of In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler

enter image description here

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  • This answer goes totally against what I found in the other question, that specifies: Modes use modal approaches by character emphasis. In fact, if you want to give a more modal approach, no V-I, IV-I, V-i, iv-i, or v-i is appropriate here. But the cited text gives a specific source.
    – Jack Mariani
    Commented Apr 28, 2020 at 6:54
  • All I can say to this is: music theory is more opinion based than most other sciences. It makes only sense to discuss an approach if you cite any theory and name the source of it like I did here. (Have Michael Curtis ‘ comment on the question “* Es wird wirklich mühsam, alle Orte zu verfolgen, an denen @MaikaSakuranomiya immer wieder diese fehlerhafte Liste von "Modalkadenzen" veröffentlicht. Das ist die Erfindung einer Person und für modale Harmonie nicht im entferntesten üblich*”.
    – Albrecht Hügli
    Commented Apr 28, 2020 at 12:07
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No, there are many feasible cadences in each mode.

The Irish folk song "The Rocky Road to Dublin," with a Dorian melody is often harmonized with a recurring cadence of VII-i, i.e. C-Dm (see here). Other cadences that maintain the Dorian feel are Cmaj7-Dm, C/E-Dm, Am-Dm, and G-Dm.

In any mode, a cadence should approach the tonic with sufficient strength, so root progressions by step or fourth are preferred over those by third, i.e. the structures VII-I, II-I, IV-I, and V-I are good bets in many modes (taking care to avoid the diminished triad).

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My answer is not so thoroughly researched that I have sources to cite, but it never failed me. It might have come from Persichetti, but that book is in the basement presently. Anyway, here it is:

Use as your "dominant" any diatonic (i.e. no sharps or flats beyond the key signature) major or minor chord such that when considered along with the tonic you use exactly ONE of the two notes, fa (scale degree 4) and ti (scale degree 7).

In the case of D Dorian, which uses the same key signature as C major (no sharps or flats), here's how that would look. The tonic is a D minor chord, D-F-A. The two scale degrees 4 and 7 are F and B. So the dominant could be any major or minor triad in C Major that does not include the pitch B.

Let's look at all the possibilities:

E minor includes a B. G major includes a B. B diminished isn't a major or minor triad.

So avoid those.

A minor, C major, and F major are all safe to use. Of these choices, F major is the weakest because it's root is a third away from tonic, C major is OK, and A minor is probably strongest. Which you use depends on your melody and what sounds good to you

You might wonder why to be so careful to avoid B and F together. They are a diminished fifth/augmented fourth apart, and this is significant. That interval has a very strong "magnetic" pull towards the tonic. That B really wants to rise to C and the F wants to fall to E. So if you aren't careful and you put them too close together, your cadence will flop. When you reach D it won't sound totally resolved. That is because the B/F combination makes you feel C major, and D minor is not the tonic in C. It's also why a G7 chord, or the progression F-G-C or Dm-G-C work so well.

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