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7 votes

Modal Cadence Options

Our three major modes are Ionian, Lydian, and Mixolydian. The Roman numerals for these are: Ionian I ii iii IV V vi vii° Lydian I II iii ♯iv° V vi vii Mixolydian I ii iii° IV v vi ♭...
Richard's user avatar
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7 votes

Help me figure out the mode of this Howard Shore piece

Aaron sort of hinted at this in comments already, but note that an entire piece doesn't have to be in a single "mode," and even a small section of piece may not conform to a specific mode. ...
Athanasius's user avatar
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6 votes
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"Tonal Tones" and "Modal Tones" - what do they mean?

Wow, those two columns seem pretty pointless, seeing as they are completely the same everywhere except when they’re blank. It seems like it must be referring to the fact that it’s the 2nd, 3rd, 6th ...
Pat Muchmore's user avatar
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6 votes

Using the Circle of Fifths for Modal Music Key Changes: Is this oversimplifying?

You're confusing keys with the modes of a key. And you're confusing what is 'easy' to do with what is interesting to do. 'Easy' can be bland. Yes, if you're in C major (or one of its modes) it's ...
Laurence's user avatar
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6 votes

Defining new commands in Lilypond (for koron symbol)

In recent versions, persian.ly provides Persian accidentals as well as key signatures. I believe it is available since version 2.23.6. Minimal example for dastgah-e shoor (in G): \version "2.24.1&...
marktani's user avatar
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6 votes

Fux Counterpoint

Richard Parncutt has an article on the subject. https://www.tandfonline.com/doi/full/10.1080/09298215.2019.1642360 He points out that while leading tones didn't necessarily arise from hexachord theory,...
ttw's user avatar
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5 votes
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Going from ♭VI to I

The chord you are referring to is the ♭VI, F, not the VI, which would be F♯ in the key of A major. This is one of several chords that are commonly borrowed from the parallel minor, in this case ...
John Belzaguy's user avatar
5 votes

Chords within harmonic minor. Naming problem

Your answer for V7 is perfectly fine, the bottom row doesn’t contradict it, it just has additional information: namely, that if a 9th is added to the harmony it would be a minor ninth. (Actually, I ...
Pat Muchmore's user avatar
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5 votes
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Defining new commands in Lilypond (for koron symbol)

When you are defining a non-musical piece of script you often have to wrap it in a markup. Nesting markups is fine. I don't know what version you are running, but this seems to work in version 2.19: ...
Elements In Space's user avatar
5 votes

Chord progression question

Call that F♯maj7 rather than G♭maj7 and it starts to make more sense! I'm hearing F♯ as the tonal centre. It's not a functional progression. Just F♯maj7 approached by a couple of similar-shaped ...
Laurence's user avatar
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5 votes

Fux Counterpoint

You are reading that wrongly. The statement is that the seventh is raised in all modes that do not have a halfstep between 7 and 8, except the phrygian mode. The modes that do not have this half step ...
Lazy's user avatar
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5 votes

Lydian harmony: What chords are tonic (T), subdominant (S), and dominant (D)?

Functional harmony and functional concepts like dominant and subdominant do not apply to modes, just to major and minor. Modal harmony is a separate subject and boils down to emphasizing the tones ...
Aaron's user avatar
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4 votes

Using the Circle of Fifths for Modal Music Key Changes: Is this oversimplifying?

The circle of fifths is showing us what keys are most closely related. Keys that are adjacent have all but one note in common. This means that modulating from one key to an adjacent one will have a ...
Basstickler's user avatar
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4 votes

In what way is music considered to be in a mode when accidentals seemingly contradict the mode?

Find the editor of your edition, and ask him (if he is still alive). If you look at this collection on IMSLP, the two early editions say nothing about modes. In fact Forkel's MS has a key signature ...
guest's user avatar
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4 votes
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In what way is music considered to be in a mode when accidentals seemingly contradict the mode?

While the guest answer makes some useful points about the edition, it doesn't really address the broader question (or Fux). The basic answer to this is that the modern set of scales taught as "modes" ...
Athanasius's user avatar
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4 votes

Character Tones in Modal Jazz

Character tones are those that most easily give away the character or harmonic nature of the mode. If your tonic i.e. home note is D, and if that's the only note that's played, it does not taste like ...
piiperi Reinstate Monica's user avatar
4 votes
Accepted

Character Tones in Modal Jazz

You don't have to force yourself in finding patterns you won't need. I would keep it simple, and split the modes between minor and minor, based on their 3rd degree. Let's keep locrian aside for a ...
moonwave99's user avatar
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4 votes

Chords within harmonic minor. Naming problem

I think you are just missing the symbols/naming for the half diminished seventh chord: half diminished seventh m7b5 viiø7 A circle with a slash means "half diminished seventh" which really involves ...
Michael Curtis's user avatar
4 votes

Lydian harmony: What chords are tonic (T), subdominant (S), and dominant (D)?

V>I would be convincing, if functional harmony is what's needed, sound-wise, and will be a deciding factor to keep a piece in Lydian rather than Ionian. But there is no IV chord - it's ♯IV, and ...
Tim's user avatar
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3 votes
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Is there a standard set of cadences designed for the seven modes?

There is not just one modal style. Do you mean Medieval modal, modal folk, modal jazz, modal rock? I'll address two. In terms of standards, the clausula vera is the standard cadence in Medieval modal ...
Michael Curtis's user avatar
3 votes

Using the Circle of Fifths for Modal Music Key Changes: Is this oversimplifying?

I am incredibly happy to stumble upon your post, as I have been working out my own theory of modal harmony using similar principles to the ones you described in your original post. I must object with ...
Nate Zoo's user avatar
3 votes
Accepted

Which chords belong to a mode?

To try to simplify with an answer- Each mode has a parent key. Let's take C Dorian as a first example. Its parent key is Bb. All the notes found in C Dorian are also in Bb major. So it should come as ...
Tim's user avatar
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3 votes
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Is it possible to find the mode of the borrowed chord?

If it's just that isolated V chord that is borrowed, then no, I don't see any way to determine whether that chord is borrowed from Ionian or Lydian. (It won't be borrowed from Locrian, because the ...
Richard's user avatar
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3 votes

What would this scale be? Is it something Eastern?

This is just the A minor blues scale with an added major seventh.
PiedPiper's user avatar
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3 votes

Why does the modal system approach to jazz sometimes fail?

Aebersold and Berklee have a lot to answer for! They formalised a system of improvisation that was teachable and testable. But they gave a generation of players the idea that this was THE way to ...
Laurence's user avatar
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3 votes

Going from ♭VI to I

...justified with theory... "Explained with theory" would be a better approach. Really basic progressions like IV V or I IV are easy enough to explain in isolation, because they are such common ...
Michael Curtis's user avatar
3 votes

Chords within harmonic minor. Naming problem

The VII chord will be spelled (in key Am) G♯, B, D and F; making it VIIdim7. G♯dim. The V chord will be spelled (in key Am) E, G♯, B, D, making it E7. Can't see where the ♭9 ...
Tim's user avatar
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