Throughout music theory 1-IV, we spoke of and analyzed music that was based upon a central tone to which all other tones within a given series were related. Such a perception of tone relationships led to a the natural formation of triads buit on the 1st, 3rd and 5th scale degrees of that series. Alterations of tones within that series were considered anomolies that were then resolved. This kind of tonal organization is often referred to as music of the Common Period. But starting in the late romatic period, extending through impressionism towards more modern and contemporary music, this procedure of musical organization and through began to change to such a drastic degree that the idea of a tonal centeraround which other notes would gravitate was soon abandoned.

Throughout the course of this semester we will examine the concepts of musical thought that led to the dismantling of common period tonality. As with all of the syntax we learned in music theory I-IV, the concepts and techniques we will explore in this class are presented not to dictate a particular manner in which you should conceive of music but rather to give you additional musical tools that you can combine with that which you already know and synthesize new and innovative conecpts and approaches to your perception of music.

Scale Materials

Modes

1. Linear Mode Formation
a.A central tone to which other notes gravitate establish tonality.
b. The intervalic order in which these tones are placed establishes modality
c. We have seen so far seen two modalities: Major and minor

d. We know that a C Major scale is comprised of a particular order of intervals that give it that distinctively Major characteristic

h. If we extend this concept utilizing the other scale tones of C major as the tonic around which all the other notes will gravitate we get the 7 standard modalities.

i. If we anaylze these modes in respect to major and minor we find the following:

1. Ionian = Major
2. Dorian = minor w/+^6
3. Phyrgian = minor w/-^2
4. Lydian = Major w/+^4
5. Mixolydian = Major w/-^7
6. Aeolin = Natural Minor
7. Locrian = minor w/-^2 & -^5

j. If we anaylze these modes in respect to their tonic relationship to the original key we find the following:

All modes use exactly the same notes of the original key but with a tonic that is built on the:

1. Ionian = ^1
2. Dorian = ^2
3. Phyrgian = ^3
4. Lydian = ^4
5. Mixolydian = ^5
6. Aeolin = ^6
7. Locrian = ^7

k. Note, when writing for these various modes, it is critical that one focuses attention on the modal tonic and those notes that deviate from the modes closest major or natural minor key (called the "characteristic tone (or "characteristic scale degree" ) else the ear will perceive the major or natural minor tonality and not the modal tonality. (herein notated with reversed stems)

The Characteristic Scale Degree(s) = the modal tonic + the scale degree(s) that deviates from the modes closest Major or Natural minor key.

In Class Assignment:
1. given the tonic note, write a specified mode
2. With a given major key signature, write a specified mode
3. With a given minor key signature write a specified mode
4. Circle the Characteristic scale degrees above.

 

2. Triadic formations within the modes

a. Since each mode contains 7 scale degrees we may assign our familiar roman and arabic designations to each triadic formation.

b. Primary Chord = the I chord and any chord that contains the "characteristic scale degree but NOT the tritone"
(The tritone would create a gravitational force to resolve into some other mode or key)
c. Secondary Chord = any chord that does not contain the "characterisitc tone" and does not contain the tritone.
d. Tritone Chord = any chord that contains the tritone.

In class assignment create various chord formations in various modes and identify the primary, secondary and tritone chords.

3. Triadic formations with added 7ths and 9ths within the modes
Just as the tritone relationship in modal triads presents a gravitational force that may pull the ear away from the modal tonic, so too do the tritone relationships present in many 7th and 9th chords pull the ear away from the modal tonic.

1. To maintain the modal tonic, avoid using any chord that contains a tritone with an implicit gravitational pull to another key area.
2. Note: Locrian is particularly problematic since the modal tonic triad contains a tritone that leads strongly to II
3. As we add chordal tones to modal triads, we increasingly run the risk of creating tritones and thereby weaking the tonic modality.

a. The 5 notes of the root triad (9753) yields 3 tritone formations that detract from the modality
b. The 6 notes of the root triad (11,9753) yields 4 tritone formations that may detract from the modality.

4. Primay chords of any kind maintain the strongest sense of modality

4. Chordal Progressions and Syntax within the modes
In order to retain the tonic function of any given mode (and thereby avoid slipping into another key center) we employ two techniques:

1. Draw attention and exploit the modal tonic and characteristic scale degrees
2. Create Gravitation forces to maintain the mode by

1. Focusing on Primary and Secondary chords
2. Avoiding chords that contain the a tritone relationship that leads to another key
3. Exploiting the the modal leading tone when present
4. Exploiting the modal perfect 5th when present
5. Chromatically altering a 7th scale degree to create an artificial L.T.
6. Chromatically altering a 5th scale degree to create an artifical P5

 

Homework: Assignment 1: Due next class 1. Write a short passage (between single and double period) for string ensemble in Lydian mode. You may use chromatic alterations of the mode but keep them to a minimum. Realize your composition with Garritan and submit your score and mp3 2. complete 2 additional bars to application #2 Pg 63 TCH for String quartet on 4 staves. Realize your composition with Garritan and submit your score and mp3 hmu415@gmail.com

5. Modal Interchange with Stationary Key Center

1. By maintaining the Key Center using the techniques in 4 above, we may easily modulate to other modes with the same key center by just applying the appropriate accidentals (In a similar manner as shifting from Major to Minor with a given tonic key)
2. If we look at all of the modes (ID PLMAL) and arrange them on the same key center from brightest (most sharps, least flats) to darkest (most flats least sharps) we observe the following order (LIM DAPL)

6. Chromatic Alterations within a mode

1. Both melodic and harmonic chromatic alterations are frequently found in modal writing.

 

2. The creation or elimination of a tritone via chromatic alteration can be an effective way to:

a. Strengthen the current key center

1. In Brick Impromptu above, The previous Lydian relationship between ^1 and ^+4 creates a tritone that naturally leads to a new tonal center on ^5. (G) To strengthen the return to C at the end of the antecedent phrase, I lower the ^4 to ^-4 thereby eliminating the tritone gravitation to G and creating a new tritone ^4-^7 that acts as a standard V7 leading the ear comfortably back to 1

b. Add tonal interest within the mode by temporarily shifting to another mode with the same tonal center.

1. In Brick Impromptu above, the third measure of the consequent phrase momentarily presents ^-3 & ^-7 creating an appearance of C Dorian
2 A Modal change with a common tonal center is called a Modal Interchange

c. Weaken the currernt key center and/or Modulate to a new key center

1. In Brick Impromptu above, the consequent phrase ends with the same appearance of the ^-4 as the end of the antecedent phrase with the same effect. In addition, I raise the ^+5 (G#) to create a tritone between ^2 & ^+5 that acts as a dominant like Viiº7 of A. I then modulate comfortably to A Dorian. Note that although the new Key Center A is clearly established, a new key signature is not needed as A Dorian is a relative key to C Lydian
2. When a mode is moved from one tonal center to another it is called a Modal Modulation

6. Polytonality & Polymodality

1. Polymodal = Different modes on the same tonal center. (see TCH Ex2-16 for full example)
2. Polytonal = Same modes on different tonal centers (see TCH Ex2-17 for full example)
3. The above can be combined simultaneously

 

7. Key Signatures and 20th Century Music
As you can see in the above examples, our standard key signatures begin to lose their traditional meaning. In 20th century music, key signatures are often ommited because tonal centers and modality shift and/or key centers begin to deteriorate. When writing in such a manner, one must keep in mind that while using a key signature of one sharp to designate C Lydian or A Dorian may be technically appropriate, it can lead to much confusion on the part of performers who may not take an analytical approach to your music. Similarly enharmonic spelling that is analytically correct may be difficult to read. Whereas it is very helpful for a composer to have a his score with analytically correct spellings so that he or she may later refer to the proper conceptual framework, the music that lands on the players music stands should include that spelling that most easily facilitates the performance.

Homework: Assignment 2: Due next class 1. Write a short passage (between single and double period) for wind ensemble in any mode you like except that of Assignemtn 1. After the mode is established, Use chromatic alterations of the mode to create a modal interchange. Realize your composition with Garritan and submit your score and mp3 2. Write a short passage (between single and double period) for brass ensemble in any mode you like except that of Assignment 1. After the mode is established, Use chromatic alterations of the mode to create a modal modulation. You may use and alter the piece you wrote in Assignment 2-1 above. Realize your composition with Garritan and submit your score and mp3 hmu415@gmail.com