Category:Modal

From WWR

The modern conception of modes describes a system where each mode encompasses the usual diatonic scale but with a different tonic or tonal center. On a piano or other such keyboard instrument, one can find a diatonic scale by using the white keys. The seven-note scale starting on middle C is an Ionian scale. Going up the keyboard one gets a Dorian scale by starting on the D, a Phrygian scale by starting on the E, a Lydian scale by starting on the F, a Mixolydian scale starting on the G, an Aeolian scale starting on the A, and a Locrian scale starting on the B. As a memory aid, there is a mnemonic: I Don't Play Like My Aunt Lilly (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian). Others include I Don't Particularly Like Modes A Lot and I Don't Play Loud Music After Lunch.

and 3rd scale degrees. A mode is considered minor if the 1st and 3rd scale degrees form a minor 3rd (3 semitones above the root). A major mode instead has a major 3rd (4 semitones) from the 1st scale degree to the 3rd.

The Locrian mode is traditionally considered theoretical rather than practical because the interval between the 1st and 5th scale degrees is diminished rather than perfect, which creates difficulties in voice leading. However, Locrian is recognized in jazz theory as the preferred mode to play over a iiø7 chord in a minor iiø7-V7-i progression, where it is called a 'half-diminished' scale.

Major modes The Ionian mode is identical to a major scale. The Lydian mode is a major scale with a raised 4th scale degree. The Mixolydian mode is a major scale with a lowered 7th scale degree. Lydian (IV) (listen) Ionian (I) (listen) Mixolydian (V) (listen)

Minor modes The Aeolian mode is identical to a natural minor scale. The Dorian mode is a natural minor scale with a raised 6th scale degree. The Phrygian mode is a natural minor mode with a lowered 2nd scale degree. Dorian (ii) (listen) Aeolian (vi) (listen) Phrygian (iii) (listen)

Diminished modes Locrian is the only mode with a lowered 5th or diminished 5th. This interval is the same distance (6 semitones from the first) as an augmented 4th which one would find in the lydian mode. Locrian's (I)'s seventh chord is naturally a half diminished seventh which is a diminished triad with a minor seventh on top. In Classical music, the Locrian exists only in theory, but certain Jazz musicians came at it 'through the back door,' as it were, and, not knowing that it was "supposed to be" only theoretical, used it. Locrian (vii°) (listen)

The relationship between the seven modern modes is discussed in more detail in the article on properties of musical modes.

[edit] Use

Modes came back into favor some time later with the developments of impressionism, jazz, (modal jazz) and more contemporary 20th century music.

The use and conception of modes or modality today is different from their use and conception in early music. As Jim Samson (1977, p.148) explains, "Clearly any comparison of medieval and modern modality would recognize that the latter takes place against a background of some three centuries of harmonic tonality, permitting, and in the nineteenth century requiring, a dialogue between modal and diatonic procedure."

The Ionian mode is another name for the major mode, in which much Western music is composed. The Aeolian forms the base of the most common Western minor scale; however, a true Aeolian mode composition will use only the seven notes of the Aeolian scale, while nearly every minor mode composition of the common practice period will have some accidentals on the sixth and seventh scale degrees in order to facilitate the cadences of western music.

Besides the Ionian major and modern (harmonic/melodic) minor modes, the other modes have limited use in music today. Folk music is often best analysed in terms of modes. For example, in Irish traditional music the Ionian, Dorian, Aeolian and Mixolydian modes occur (in roughly decreasing order of frequency); the Phrygian mode is an important part of the flamenco sound. The Dorian mode is also found in other folk music, particularly Latin and Laotian music, while Phrygian is found in some Central European or stylized Arab music, whether as natural Phrygian or harmonic Phrygian (Phrygian Dominant), which has a raised third (the so-called "gypsy scale"). Mixolydian mode is quite common in jazz and most other forms of popular music. Because of its dream-like sound, the Lydian mode is most often heard in soundtrack and video game music.

Some works by Beethoven contain modal inflections, and Chopin, Berlioz, and Liszt made extensive use of modes. They influenced nineteenth century Russian composers, including Mussorgsky and Borodin; many twentieth century composers drew on this earlier work in their incorporation of modal elements, including Claude Debussy, Leoš Janáček, Jean Sibelius, Ralph Vaughan Williams and others. Zoltán Kodály, Gustav Holst, Manuel de Falla use modal elements as modifications of a diatonic background, while in the music of Debussy and Béla Bartók modality replaces diatonic tonality. (Samson 1977)

They have also been used in popular music, especially in rock music. Some notable examples of songs using modality include Scarborough Fair, which uses the Dorian mode, and many of the jam-songs of The Grateful Dead[citation needed]. The Dorian and Aeolian modes are also very prevalent in modern punk and post-hardcore music[citation needed].

While remaining relatively uncommon in modern (Western) popular music, the darker tones implied by the flatted 2nd and/or 5th degrees of (respectively) the Phrygian and Locrian modes are evident in diatonic chord progressions and melodies of many guitar-oriented rock bands, especially in the late 1980s and early 1990s, as evidenced on albums such as Metallica's "Ride the Lightning" and "Master of Puppets", among others.

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