(3 or ♭7). This creates more tension and resolution between the V and the tonic! But let’s take a look at our possible circular movements and see how they apply to Dorian. It also doesn’t tend to lead us anywhere, tonally speaking, making it a great cadential chord to go back and forth with the modal centre of D Dorian! Notice how, they too, have an open sound. Alter one note, just one scale degree, and it’s no longer the same mode. Secundal harmony means that the chords are built by stacking seconds or sevenths (second’s inversion) instead of the typical thirds. The dominant seventh chord falls on Dorian’s fourth scale degree. It’s possible to play many other chords and remain in modal harmony! The tertian seventh chord built on A is Amin7 (A C E G). I actually kind of like these two chords together. Here’s Enter Sandman! It’s sometimes difficult to distinguish between minor key tonal harmony and Aeolian modal harmony. The opening riff has an Aeolian melody line played against an offbeat bass note (starting on the modal root). Phrygian’s characteristic tone is its ♭2 and so the ♭II is a very strong cadential chord. Rather than being called Aeolian mode, it’s usually referred to as the minor scale. So we’ve discussed the strongest cadential chords for each of the diatonic modes. The more cadential chords are chords that: Chords based a third away from a mode’s root in either direction do not provide much tension and are often merely heard as “changes of color” (especially in tertian harmony). For example, the iii-vi-ii-V-I chord progression in C Major would be: Those chords’ roots move circularly, counter-clockwise, through the circle of fifths: In Tonal Harmony (otherwise known as functional harmony), we think of chords as having functions: tonic, dominant, and predominant. G7 (the V chord) is the dominant. Here are some Lydian chord progressions I like: As always, pay special attention to play the I chord often! And it contains the characteristic tone as its major third! The most cadential chord in Aeolian modal harmony is the♭VII triad (once again, not the seventh chord). Amin7 (the vi chord) can have a tonal sound, but in this chord progression, it sounds a bit more like a pre-dominant (to C). There are plenty of books out there that explain what the modes are, but I believe the two above resources to be the best at explaining the inner workings and practical application of the modes. As for the non-diatonic modes, as mentioned above, we’ll compare them to diatonic modes (from the Major Scale). Although even in tonal harmony, the vii* chord typically wants to resolve upward to the tonic (Ionian) chord, so I could make an argument that it’d more cadential to the Ionian modal tonic. As an example, try playing the C Major Scale with a pedal point of C. Play the scale one note at a time with C as a pedal point. A heptatonic mode (or a mode made of any number of notes for that matter) is unique. The plan of action should be the same with these modes. I hope this article has provided some insight into playing and writing with modal harmony. It’s also a great example of two concepts we’ve discussed earlier: Scarborough Fair is another well-known example of the Dorian mode. It’s not super cadential, but not terrible either. Modal music can also be described as having a very slow harmonic movement, where one chord can last 4, 8, 16 bars or more. This song shows the technique of using the pedal point. Let’s look at the alternatives for cadential modal chords in D Dorian (for this example we’ll stick to tertian seventh chords for simplicity sake): And D Dorian’s tertian seventh chord is Dmin7 (D F A C). In this way, tension and release are what drive tonal harmony. I’d recommend that the characteristic tone be higher in pitch as to avoid confusion about which note is the actual root. This is something to be aware of when trying to “write in Aeolian” rather than “write in minor.”. Ionian is a tough one to give examples of because it’s almost synonymous with “Major Key.”. But gives a good idea of what mode we happen to be in. Another aside that bears mentioning is that stacking sixths is considered tertian harmony (although it will naturally sound more open) since the sixth is the inversion of the third! The v chord in Dorian has a minor quality rather than a dominant quality. Find out more. (♭4), Diminished means there’s a diminished fifth alt. It does contain the modal root (D) and D Dorian’s characteristic tone (B). For more information on the specifics of the Harmonic Minor scale, check out my article Chords of the Harmonic Minor Scale.

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